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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


f  VI    leaaing  room  Otuy  cx_-«^t-'**»'^^  ^  v 


SIXTEENTH  EDITION 

Thoroughly  Revised,  and  Augmented  by  an  Appendix 
of  700  Additional  IVords  and  Phrases 


DICTIONARY 

OF 

MUSICAL  TERMS 

Containing  upwards  of  9,000  English,  French,  German,  Italian,, 

Latin   and   Greek   words    and    -phrases  used  in  the  art  and 

science  of  music,  carefully   defined,  and  with  the  accent 

of  the  foreign  words  marked;  preceded  by  rules  for 

the  pronunciation  of  Italian,  German  and  French. 

WITH  A 

SUPPLEMENT 

CONTAINING 

An  English-Italian  Vocabulary  for  Composers 


COMPILED   AND    EDITED 
BY 

Dr.    TH.   baker 


NEW  YORK  :  G.  SCHIRMER 


Copyright,  1895,  bv  G.  Schirmer, 


Music 
Library 


BIT 

PREFACE.  /g^  ^ 


It  is  the  aim  of  this  Dictionary  of  Musical  Terms  to  furnish  an  accurate  and 
concise  explanation  of  any  technical  word  or  phrase  which  the  student  is  apt  to 
meet  with.  The  English  vocabulary  will  be  found  practically  exhaustive.  Want 
of  space  forbade  making  the  foreign  vocabulary  equally  so ;  but  the  editor  has 
endeavored  to  preserve  a  proper  balance  by  giving  any  term,  appearing  in  either 
German,  French,  or  Italian,  in  each  of  those  languages,  thus  maintaining  a  con- 
sistent polyglot  character  so  far  as  necessary  limitations  permitted. 

The  scope  of  the  work,  which  is  rather  a  dictionary  than  a  lexicon,  rendered 
the  editor's  task  more  that  of  a  compiler  than  of  an  original  investigator.  Most  of 
the  material  here  presented  has  been  gleaned  from  numerous  standard  works  of 
reference,  such  as  those  of  Grove  (Dictionary'),  Riemann  (Musik-Lexikon),  Gevaert 
(Instrumentation),  Weitzmann  (History  of  Pianoforte-Playing),  Stainer  and  Barrett, 
Ambros  (Geschichte  der  Musik),  Paul  (Handlexikon),  Soullier  (Dictionnaire), 
Helmholtz  (Tonempfindungen),  Niecks,  The  Century  Dictionarj',  many  English, 
German,  French,  and  Italian  periodicals  and  musical  journals,  etc.,  etc.  Literal 
quotations  are  duly  credited  to  their  sources  ;  condensations  and  adaptations,  how- 
ever, are,  for  obvious  reasons,  not  so  credited,  and  must,  therefore,  be  included 
under  this  general  acknowledgment.  The  information  so  gathered  has  been  care- 
fully sifted,  and  supplemented  by  the  personal  researches  of  over  ten  years. 

Due  credit  should  be  given  to  Dr.  William  Mason  for  suggesting  the  Supple- 
ment, containing  an  "English-Italian  Vocabulary  for  Composers",  to  which  Dr. 
Mason  also  contributed  valued  additions. 


HINTS   ON    PRONUNCIATION.* 


ITALIAN. 
Vowels : 

General  rule  :  The  vowels  are  very 
open,  and  never  to  be  pronounced 
as  impure  vowels  or  diphthongs  ; 
they  are  long  in  accented  syllables 
which  they  terminate, — short  in 
unaccented  syllables,  or  in  accented 
ones  ending  with  a  consonant. 
a   like  ah  or  ah  (never  a)  ;  e.g.  a7nare 

[pron.  ah-mah'-rc'h]. 
e     "     ay  in  bay  (without  the  vanish  i)\ 

e  in  bed  ;  a  in  bare  (before  r). 
i      "     ee'vo.  beet;  /  in  bit ;  i  before  a 

vowel,  like;!' (consonant). 
O     "     aw,  or  oh  (without  the  vanish 

u)\  6  m.  (''pinion. 
u     "     £ii?  in  boot  ;  «<  in  bull. 

Consonants :  -  ^  -i^ 

General  rule  :  Even  the  hard  con- 
sonants are  somewhat  softer  than 
in   English ;    the    soft   consonants 
are  very  delicate. 
b,  d,  f,  1,  m,  n,  p,  qu,  s,  t,  v,  as  in 

English. 
C  like    i,   before   a,    o,   u,  or   another 

consonant  except  c,  as  below. 
C     "     ch  in.   chair  before  e  or  i ;  cc 

like  i-ch  before  e  or  i. 
g     "     ^  hard  before  a,  o,  u,  or  another 
"  consonant ;  except  before  /  (pro- 
nounce gl  like  l-y  [consonant], 
e.g.  sugli,  [pron.  sool'-ye]),  and 
n  (pronounce  gn  like  n  in  canon 
[kan'-yon]). 
g     "     3  in  azure  (or  a  very  soft  j)  be- 
fore e  or  i. 
h  is  mute. 
j    like  y  in  you. 

r,  pronounce  with  a  roll  (tip  of  tongue 
against  hard  palate). 
Where  a  doubled  consonant  oc- 
curs, the  first  syllable  is  dwelt 
upon  ;  e.g.  in  eeco  [pronounce 
ek'-ko,  not  ek'-o]. — Accented 
syllables  take  a  less  explosive  stress 

*  These  "hints"  are  offered  as  an  aid  for 
tyros,  and  not  in  the  least  as  an  exhaustive  set  of 
rules. 


than  in  English,  being  prolonged 
and  dwelt  upon  rather  than  forci- 
bly marked. 

sc  like  sh,  before  e  and  i. 

z     "     ds  (very  soft  ts). 

GERMAN. 
Vowels : 

The  simple  vowels  as  in  Italian  J 
y  like  German  i  or  it. 

Modified  vowels : 

a.  like  a  in  bare,  but  broader  ;  e  in  bed. 

6  has  no  English  equivalent ;  long  o 
can  be  pronounced  by  forming 
the  lips  to  say  oh,  and  then 
saying  a  (as  in  bay)  with  the 
lips  in  the  first  position  ;  short 
o,  by  saying  e  (as  in  bed)  mstead 
of  a.  [N.B. — Long  o  is  the 
French  eu  (in  Jen)]. 

ii  has  no  English  equivalent ;  pro- 
nounce long  ii  by  forming  th( 
lips  to  say  oo  (as  in  boot),  and 
then  saying  ee  (beet)  with  the 
lips  in  the  first  position  ;  short 
ii,  by  saying  /  (as  in  bit)  instead 
of  ee.  [N.B. — Long  ii  is  the 
French  iiJ\ 

Diphthongs : 

ai  and  ei  like  long  I  in  bite. 
ae  like  a, 

au    "    ow  in  brow. 

eu  and  au  like  oi  (more  exactly  ah^ii, 
closely  drawn  together). 

Consonants  : 

f,  h,  k,  I,  m,  n,  p,  t,  as  in  English. 

b  and  d,  beginning  a  word  or  syllable, 
as  in  English  ;  ending  a  word 
or  syllable,  like  /  and  /  respec- 
tively. 

C  like  k  before  a,  o,  and  u;  like  ts 
before  e,  i,  and  a. 

g  usually  hard,  but  like  z  in  azure  in 
words  from  the  French  and 
Italian  in  which  g  is  so  sounded  ; 
—ang,  eng,  ing,  ong  and  U7ig 
terminate,  at  the  end  of  a  word, 
with  a  /--sound  (e.g.  Be'-bimg^). 


Ti 


HINTS  ON   PRONUNCIATION. 


j    like  ^y  (consonant). 

qu  "   kv. 

r  either  with  a  roil,  or  a  harsh  breath- 
ing. 

8  beginning  a  word  or  syllable,  and 
before  a  vowel,  like  z  (soft) ; 
ending  a  word  or  syllable,  like 
sharp  s  ;  before  /  and  /,  begin- 
ning a  word,  usually  like  s/i 
(e.g.  stutnm,  pron.  shtum  \ii  as 
in  bull])  ;  otherwise  as  in  Eng- 
lish. 

V  like/. 

W   "    z/  (but  softer,  between  v  and  7^'). 

X    "    /6j  (also  when  beginning  a  word). 

z     "   is. 

Compound  consonants : 

ch  is  a  sibillant  without  an  English 
equivalent ;  when  beginning  a 
syllable,  or  after  e,  i,  a,  d,  it,  ai, 
ei,  ae,  en,  and  au,  it  is  so/^  (set 
the  tongue  as  if  to  pronounce  d, 
and  breathe  an  /t  through  it ;  e.g. 
Strich,  pron.  shtrld-h) ;  after 
a,  o,  u,  and  au,  it  Is  hard  (a 
guttural  h). 
chs  like  X. 
sch    "    sh. 

sp  and  st,  see  s,  above. 
th  like  t. 

Accented  syllables  have  a  forcible 
stress,  as  in  English.  In  com- 
pound words  there  is  always  a 
secondary  accent("),  sometimes  a 
tertiary  one('"),  depending  on  the 
number  of  separate  words  enter- 
ing into  the  composition  of  the 
compound  word ;  e.g.  Z-vi'schen- 
akts"'musik" ,  Bo' genham" tnerkla- 
vier'".  The  principal  accent  is 
regularly  marked  (')  in  this  work. 

FRENCH. 
Vowels : 

a  as  in  Italian,  but  shorter,  often  ap- 
proaching English  a. 

a  like  ah. 

e  "  «  in  but ;  ^-final  is  almost  silent 
in  polysyllabic  words. 

6    "    ay'wi  bay. 

h    "    e\n  there. 

e    ' '    German  a,  and  always  long. 


i   or  i  like  ee  in  beet ;    short  i  as  in 

English. 
o  as  in  Italian. 
u  like  the  German  n. 

Diphthongs : 

ai  like  ai  in  fair;  but  before  ^final,  or 
//,  is  pronounced  as  a  diphthong 
{a/ij/c',  drawn  closely  together). 

ai  and  ei  like  e. 

eu,  eu  and  oeu  like  German  o. 

oi  like  oh-dh'  (drawn  closely  together). 

ou  and  ou  like  oo  in  boot. 

eau  like  6  long,  without  the  vanish  w. 
Modified  by  a  following  n,  vi,  nd,  nt  or 
;///  at  the  end  of  a  syllable,  the 
vowels  and  diphthongs  are  nasal 
(exception, — verbal  ending  of 
3rd  pers.  plural). 

Consonants  as  in  English,  with  the 
following  exceptions : 

C    like  s  in  song  before  .?,  /,  i,  /,  and  /. 

ch    "    sh. 

g     "     3  in  azure  before  e,  /,  ^,  c,  and  i. 

gn  as  in  Italian. 

h  is  mute  ;  the  treatment  of  initial  h 
cannot  be  explained  here. 

j  like  z  in  azure. 

II  after  i  is  usually  sounded  like  Eng- 
lish y  (consonant),  and  frequent- 
ly prolongs  the  i  (ec)  ;  e.g. 
travailler  [trlih-vih-yay'],  tran- 
quille  [trihngkee'y]. 

n  nasal,  see  above ;  otherwise  as  in 
English.  [The  nasal  effect  is 
accurately  obtained  by  sounding 
n  (or  711)  together  zvith  (instead 
of  after)  the  preceding  vowel  ; 
but  the  sound  of  e  is  changed 
to  ah,  i  to  d  (in  bat),  and  u 
to  eu.^^ 

m,  nasal  in  certain  situations. 

r  with  a  roll. 

s-final  is  silent. 

t-final  is  silent. 

er,  et,  es,  est,  ez,  as  final  syllables, 
are  pronounced  like  /. 

Accentuation.  The  strong  English 
stress  on  some  one  syllable  of  a 
polysyllabic  word  is  wanting  in 
French  ;  the  general  rule  is  slightly 
to  accent  the  last  syllable. 


A 


DICTIONARY 

OF 

MUSICAL   TERMS. 


A— ABBREVIATIONS. 


A.  I.  (Ger.  A;  Fr.  and  It.  !a.)  The 
sixth  tone  in  the  typical  diatonic  scale 
of  C-major.  The  tone  a'  (see  Pitch, 
absolute)  is  that  sounded  by  the  oboe  or 
other  fixed-tone  instr.  (pfte.,  organ)  to 
give  the  pitch  for  the  other  instr.  s  of 
the  orchestra  or  military  band. — 2.  In 
mus.  theory,  capital  A  often  designates 
the  .-i-major  triad,  small  a  the  ^-minor 
triad. — 3.  In  scores,  the  capitals,  or 
doubled  letters  (A  a— Z  z),  are  often  set 
at  the  head  of  main  divisions  or  at  any 
critical  point  to  facilitate  repetition  at 
rehearsal. — 4.  As  an  Italian  (or  French) 
preposition,  a  (or  a)  signifies  to,  at,  for, 
by,  in,  etc. — 5.  A  j$,  a  (7 ,  a  tj,  see  Sharp, 
Flat,  Natural.— t.  At  the  head  of 
Gregorian  antiphones,  etc.,  A  means 
that  the  first  mode  is  to  be  employed. — 
7.  In  this  Dictionary,  an  -a  appended 
to  an  Italian  word  signifies,  that  in  the 
feminine  form  a  is  substituted  for  the 
masculine  termination  0. 

Ab  (Ger.)     Off  (organ-music). 

Ab'acus  harmon'icus  (Lat.)  i.  A  dia- 
gram of  the  notes,  with  their  names. — 
2.  The  structure  and  disposition  of  the 
digitals  and  pedals  of  a  mus.  instr. 

Abandon  (Fr.)  Unrestrained  abandon- 
ment to  natural  emotion  ;  avec  a.,  same 
as  con  abbandono. 


■  Accelerando 


A.     See  A. 

Abb.     Abbassamento 

Accel. 

Accel".  ; 

Ace.         I 

Accom.     >  Accompaniment 

Accomp.  J 

Accrcs.     Accrascendo 

Adg".  or  Ad".     J^.dagio 

Ad  lib.     Ad  libitum 

Aevia     Alleluia 

Affett.     Affettuoso 

Affrett.     Affrettando 

Ag°.  or  Agit".     Agitato 

All".     Allegro 


•  Allegretto 
■  All'ottava 


Allgtt" 

Alltt» 

Airott. 

AirSva  j' 

Al  seg.     Al  segno 

Alz.     Alzamento 

And"".     Andantino 

And".     Andante 

Anim°.     Animato 

Arc.      Col  Tarco,  or  Arcato 

Ard.     Ardito 

Arp".     Arpeggio 

At.  I 

A  tern.     V  A  tempo 

A  temp.  ) 


Abbandonatamen'te )  (It.)    In  an  im» 
Abbando'no,  con        \    passioned  style, 
as  if  carried  away  by  emotion ; — subordi- 
nation of  rhythm  and  tempo  tc  expres- 
sion. 

Abbassamen'to  (It.,  abbr.  abb.)  "  Low- 
ering "  ;  indicates  in  pfte. -playing  that 
one  hand  is  to  play  below  the  other ; 
opp.  to  alzamen'io...A.  di  ma' no,  sink- 
ing of  the  hand  in  beating  time  ;  A.  di 
vo'ce,  diminution  (in  volume)  of  the 
voice. 

Abbattimen'to    (It.)      Falling    of    the 

hand  in  beating  time  ;  the  down-beat. 
Abbellimen'to)  (It.)      Embellishment, 
Abbellitu'ra     \       ornament,         grace; 
from  abbelli're,  to  embellish. 

Ab'betont  (Ger.)     With  Jinal  accent. 

Abbreviation.  (Ger.  Abbreviatur' ,  Ab'- 
kiirzuiig;  Fr.  abr^viation;  It.  abbrevia- 
tu'ra.)  [In  this  Dictionary,  any  key- 
word recurring  in  the  article  which  it 
heads  will  be  represented  by  its  initial 
letter  or  letters  ;  for  instance,  Abbassa- 
mento  above  by  A.  Also,  various  other 
abbreviations  are  used,  such  as  abbr. 
for  abbreviation,  instr.  for  instrument, 
mus.  for  musical,  pfte.  for  pianoforte, 
opp.  for  opposed,  etc.  J 
I.  The    commonest    abbreviations     of 

musical  technical  terms  are  the  following : 
Aug.     By  augmentation 


B.     See  B. 

B.  C.     Basso  continuo 

B.  G.  Basso  generale,  or  Bassua 
generalis 

Bl.     Blasinstrumente 
Br.     Bratschen 
Brill.     Brillante 

C.  See  C. 

C.  a.  CoU'arco 

Cad.  Cadenza 

Cah.  Cahier 

Cal.  Calando 


ABBREVIATIONS. 


Calm.     Calmato 
Cant.     Canto 
Cantab.     Cantabile 
C.  b.     Contrabasso 
C.  B.     Col  basso 
Cb.     Contrabasse 
C.  D.     Colla  destra 
'Cello.     Violoncello 
Cemb.     Cembalo 
Ch.     Choir-organ 
Chal.     Chalumeau 
C.  1".     Canto  prime 
C.  L.     Col  legno 
Clar.     Clarinet 
Clar°.     Clarino 
Clar"".     Clarinetto 
Col  c.     Col  canto 

C°>i;ott.Jcoirottava 

Con  espr.     Con  espressione 

Cont.     Contano 

Cor.     Cornet  or  Corno 

Co.  So.     Come  sopra 

C.  P.     Colla  parte 

Cres.    j  r,  J 

/;  \  Crescendo 

Cresc.  ) 

C.  S.     Colla  sinistra 

C.  S.,  or  Co.  So.     Come  sopra 

C'°.     Concerto 

C.  voc.     Colla  voce 


D.     See  D. 

Dal    S.     Dal  segno 

D.  C.     Da  capo 

Dec.     Decani 

Decresc.     Decrescendo 

Delic.     Delicatamente 

Dest.     Destra 

Diap.     Diapason(s) 

Dim.     By       diminution,       or 

Diminuendo 
Div.     Divisi 
Dol._  Dolce 
Dolcis.     Dolcissimo 
Dopp.  Ped.     Doppio  pedale 
D.  S.     Dal  segno 

Energ.     Energicamente 
Espr.,  or  Espress.      Espressivo 
Exp.,  or  Expr.     Orgue  expres- 
sif  (<5) 

F.     See  F. 
y,  or  for.     Forte 

Fag.     Fagotto 

Falset.     Falsetto 
//>  °' ///    Fortissimo 

Fl.     Flauto 

Flag.     Flageolet 

F.  O.      {  -c-   11 

F.  Org.  (  ^""  "'■8''" 
yp     Forte  piano 

Fz.,  or  Forz.     Forzando 

G.  See  G. 

Ged.     Gedampft 
G.  O.      I  Great  organ 
G.  Org.  f  Grand-orgue 
Grand.     Grandioso 
Graz.     Grazioso 
Gt.     Great  organ 

Hanptw.     Hauptwerk 
Haut.     Hautboy 
H.  C.     Haute-contre 
Hlzbl.,  or  Hzbl.     Holzblaser 


Hptw.,  or  H.  W.     Hauptwerk 
Hr.,  or  Hrn.     Horner 

Intro.     Introduction 
Inv.     Inversion 

K.  F.     Kleine  FlOte 

L.  See  L. 

Leg.     Legato 

Legg.     Leggero,  Leggiero 

L.  H.     Left  hand,  linke  Hand 

Lo.     Loco 

Luo.     Luogo 

Lusing.     Lusingando 

M.     See  M. 

Maest".     Maestoso 

Magg.     Maggiore 

Man.     Manual 

Man.  1+2.     Couple  Ch.  to  Gt. 

Mane.     Mancando 

Marc.     Marcato 

M.  D.     Mano  destra,  or  main 

droite 
Men.     Meno 
Mez.     Mezzo 
«;/"    Mezzo  forte 
wr/z     Mezzo  forzando 
M.  G.     Main  gauche 
M  .  M.     Maelzel's  metronome 
Mod.,  or  Modt".     Moderato 
Mor.     Morendo 
>«/     Mezzo  piano 
M.S.     Manuscript,     or     Mano 

sinistra 
Mus.  B.,  or  Mus.  Bac.  Musicae 

baccalaureus 
Mus.  D.,  or  Mus.  Doc.   Musicae 

doctor 
M.  V.     Mezza  voce 


Ob.     Oboe 

Obbl.     Obbligato 

Oberst.     Oberstimme 

Oberw.,  or  Obw.     Oberwerk 

Oh.  Ped.     Ohne  Pedal 

O.  M.     Obermanual 

Op.     Opus 

Opp.     Oppure 

Org.     Organ 

Ott.,  Ova.,  or  8va     Ottava 

O.  W.     Oberwerk 


P.     See  P. 
Ped.     Pedal 
Perd.     Perdendosi 
/y"    piu  forte 
p    p    1 
pr     '  >  Pianoforte 

Piang.     Piangendo 
Pianiss.     Pianissimo 
Pizz.     Pizzicato 

pmo.,  //,    ///,  ////     Pianis- 
simo 
Prin.     Principal 


Raddol.     Raddolcendo 

Rail.     Rallentando 

Recit.     Recitative 

r/",  r^z,  rinf.     Rinforzando 

R.  H.     Right  hand,  or  rechte 

Hand 
Rip.     Ripleno 
Ritard.     Ritardando 
Kit.,  Riten.     Ritenuto 


S.  .SeeS. 

Salic.     Saliclonal 

Scherz.     Scherzando 

Seg.     Segue 

Sem.  or  Semp.     Sempre 

sf,  s/z,  s/f    Sforzando 

Sim.     Simile 

Sin.     Sinistra 

Sinf.     Sinfonia 

S.  int.     Senza  interruzione 

Smorz.     Smorzando 

Sos.,  Sost.     Sostenuto 

Sp.     Spitze 

S.  P.     Senza  pedale 

Spir.     Spirituoso 

S.  S.,  or  S.  Sord.     Senza  sordini 

S.  T.     Senza  tempo 

Stacc.     Staccato. 

St.    D.,  or    St.   Diap.     Stopped 

diapason 
Stent.     Stentando 
Str.     Streichinstrumente 
String.     Stringendo 
Sw.     Swell-organ 
Sym.     Symphony 

T.     See  T. 

T.  C.     Tre  corde 

Temp.     Tempo 

Tempo  I.     Tempo  prime 

Ten.     Tenuto 

Timb.     Timbales 

Timp.  J  ximpani 

T.  P.     Tempo  primo 

Tr.     Trillo,  Trumpet 

Tratt.     Trattenuto 

Trem.     Tremolando,  Tremulant 

Tromb.     Trombe,  Tromboni 

Tromp.     Trompete 

T.  S.     Tasto  solo 

U.  C.     Una  corda 
Unis.     Unisono 

V.     See  V. 

Va.     Viola 

Var.     Variation 

Vc,  Velio.,  VUo.     Violoncello 

Viol.,  VI..  Vno.     Violino 

Viv.     Vivace 

V.  S.     Volti  subito 

Vv.,  Vni.     Violini 

Abbreviations  by 
Numerals. 

1.  or  I.     Prima  volta 

2.  or  II.     Seconda  volta 

(7)    (5)   etc.      See    Harmonium- 
music 

Man.    I.   (2.)     Great  (Choir-)or- 
gan 
2- 

time 

3- 
timej 

4tette.     Quartette 
Stette.     Quintette 

Also  compare  a.n.  Nuiiterals. 
For  single  figures  over  groups 
of  notes,  compare  (2)  Couplet, 
(3)  Triplet,  (4)  Quadruplet, 
(%.)  Quintuplet,  (6)  Sextuplet, 
(7)  Septuple!,  (8)  Octuplet,  (9) 
Nonuplet,  (10)  Decuplet,  etc. 


ABBREVIATIONS. 


2.  Abbreviations  in  manuscript  or  printed  music  by  means  of  conventional  signs. 

6  4  8  lo 

etc.  (compare  Eesi). 


(A)  Of  rests: 


(B)  Of  notes: 

(a)  Of  single  notes. 


5fH 1 

1 

g^i     .      1 

ij  7  r^ 

^Written  out  : 

^ — ^ — 

(Triplets.) 


.lor 

ex             ^ 

r-6 1 



'^ 

1 

g^f 

.»¥— 

6 

^? 

6 

H 1 

i-JLU^ 

m     m 

—0—m—m — •- 

-zj'-^-z^- 

-4— 

-* — 

-1 — 

=r= 

t= 

-T — 

=^ 

(b)  Of  doubled  notes  (see  Tremolo).  [Note  to  (b).  When  the  abbreviation 
consists  of  two  consecutive  notes,  the  sum  of  the  notes  in  the  solution  is  equal 
to  only  one  of  them,  unless  specially  marked.] 


4       ABC,  MUSIKALISCHES— ABGEBROCHENE  KADENZ. 


(c)  Of  figures  and  phrases. 


i^^^^^^^^^ 


T-r-r- 


(Also  compare  Arpeggio,  Bis,  Repeat,  Segue,  Simile,   Ter,  Tremolo.^ 


A  B  C,  musika'lisches  (Ger.,  "musi- 
cal A  b  c. ")  See  Alphabetical  notation. 
...A-b-c-Jieren,  to  use,  in  singing- exer- 
cises, the  letter-names  of  the  notes. 

A'bendglocke  (Ger.)  Evening  bell,  cur- 
few.— A'bendlieJ,  evening  song. 

ATjenteuerlich  (Ger.,  "Adventurous.") 
Strange,  singular,  uncouth  ;  an  epithet 
sometimes  applied  to  music  having  no 


settled  or  recognized  form,  especially 
to  that  of  the  neo-German  school. 
Ab'fallen  (Ger.)  To  deteriorate  ;  said 
of  any  part  of  the  compass  of  an  instr. 
or  voice  showing  a  falling-off,  in  quality 
or  volume  of  tone,  as  compared  with 
other  parts. 

Ab'gebrochene     Kadenz'  (Ger.)     See 

Kadenz. 


ABGELEITET— ACCENT. 


Ab'geleitet  (Ger.)     Derived,  derivative. 

Ab'gesang  (Ger.)     See  Strophe. 

Ab'gestossen(Ger.)  Detached,  staccato. 

Ab'gleiten  (Ger.)  To  slip  or  slide  any 
finger,  on  the  keyboard,  from  a  black 
digital  to  the  next  white  one. 

Ab'hub,  abub.  Hebrew  wind-instr.  re- 
sembling the  cornet. 

Ab  ini'tio  (Lat  )     Same  as  Da  capo. 

Ab'kiirzung  (Ger.)     Abbreviation. 

Ab'leiten  (Ger.)     To  derive  from. 

Ab'losen  (Ger.)  To  change  fingers  qui- 
etly on  a  digital  of  the  pfte.  or  organ. 

Ab'nehmen,  Ab'nehmung  (Ger.)  Dimi- 
nuendo. 

Abreg^s  (Fr.)     Trackers. 

Ab'reichen  (Ger.)  In  violin-playing,  to 
take  a  tone  by  extending  the  little  fin- 
ger (see  Extension),  or  by  drawing  back 
the  forefinger. 

Ab'reissung  (Ger.)     See  Ahrnptio. 

Abrup'tio  (Lat.  "  a  breaking-ofl.")  The 
sudden  stopping  of  a  melody  before 
reaching  the  actual  close,  it  being  con- 
tinued after  a  pause. 

Ab'satz  (Ger.)  i.  A  thematically  or 
rhythmically  well-defined  di\'ision  of  a 
piece  or  movement.  —  2.  A  melodic 
phrase. 

Ab'schwellen  (Ger.)     Decrescendo. 

Ab'setzen  (Ger.,  "to  lift  from".)  To 
strike  two  digitals  in  succession  with  the 


same  finger,  to  lift  ;  e.g. 


P 


Absolute  Music.  In  contradistinction 
to  "  program-music,"  which  is  supposed 
or  intended  to  express  (depict,  portray) 
something  tangible,  absolute  music 
subsists  in  and  for  itself,  without  being 
in  any  way  derived  from  concrete  con- 
ditions or  objects.  Program-music 
seeks  its  inspiration  in  poetr}',  in  art, 
in  living  realities  ;  absolute  music  is 
itself  the  inspiration,  awakening  emo- 
tion through  emotion  without  the  in- 
terposition of  or  definite  interpretation 
by  the  intellect,  infecting  and  influenc- 
ing the  soul  (l\xtc\.\y..  .Absolute  Pitch, 
see  Pitch. 

Ab'stammen  (Ger.)    To  be  derived  from. 

Ab'stand  (Ger.)     See  Tonabstand. 

Ab'stimmen  (Ger.)  i.  To  tune. — 2.  To 
lower  the  pitch  (of  '\n%Xx.s). .  .Ab'stim- 
mend,  Ab'stimmig,  discordant,  dissonant.  _ 


Ab'stossen  (Ger.)  To  play  staccato,  to 
detach. .  .Ab'stosszeichen,  staccato-mark. 

Abstrak'ten  (Ger.)     Trackers. 

Ab'stufung  (Ger.,  "graduation.")  The 
shading  of  a  passage  or  piece,  either 
emotionally  or  dynamically. 

Abun'dans  (Lat.)     Superfluous. 

Ab'wechseln  (Ger.)  To  alternate  ;  mit 
ab'ivechsehiden  Matma'len,  with  alter- 
nating manuals. 

Ab'weichung  (Ger.)  A  variant  ;  a  differ- 
ent reading  or  notation  ;  specifically, 
the  measure  or  measures  marked  secunda 
z'olta  in  a  repeat. 

Ab'ziehen  (Ger.)  i.  See  Abgkiten. — 2. 
To  unstring  (in  the  sense  of  taking  off 
worn-out  strings)  a  violin,  harp,  etc. 

Ab'zug  (Ger.)  i.  See  Abgleiten.—2.  The 
lifting  of  the  fingers  in  playing  wind- 
instr.s,  or  of  the  bow  from  the  strings. 

Acathis'tus  (Gk.)  In  the  Gk.  Church,  a 
long  canon  or  hymn  in  praise  of  the 
Virgin,  sung  by  all  standing. 

Accarezze'vole  )  (It.)     Caressful- 

Accarezzevolmen'te  f  ly,  caressingly, 
coaxingly. 

Acceleran'do  (It.)  "Accelerating," 
gradually  growing  {a.steT. .  .Acce/era'to, 
accelerated,  livelier. 

Accent.  (Ger.  Accent',  Beto'nung ;  Fr. 
accent;  It.  accen'to.)  i.  The  natural 
stress  or  emphasis  regularly  recurring 
on  certain  tones  in  each  measure,  called 
the  grammatical,  metrical,  or  regular 
accent  ;  e.g.  that  on  the  first  beat  in 
every  species  of  time 


P 


-r-y- 


tnrC 


{primary  accent),  and  on  the  third  beat 
in    triple    or    compound    duple    time 


-xSz 


■S=mz 


I  r^ 


v;^'^=^ 


m 


{sub-accent). — 2.  The  monotony  of  the 
regular  accent  is  varied  by  the  rhyth- 
mical accent,  which  brings  out  mor» 
prominently  the  broader  musical  divi- 
sions of  a  composition  by  special  em 
phasis  at  the  entrance  or  culminating 
points  of  motives,  themes,  phrases, 
passages,  sections,  etc.;  the  rhythmical 
a.  is  nearly  synonymous  with  the 
pathetic  ox  poetic  a.,  as  an  aid  in  inter- 
preting the  meaning  and  making  plain 
the  construction  of  a  work. — 3.  An   ir- 


ACCENTOR— ACCORD. 


regular  stress  laid  upon  any  tone  or 
beat  at  the  composer's  pleasure,  is  the 
rhetorical  or  usthciic  a. ,  indicated  either 
by  a  special  sign  (s/:,/z,  >,  A),  or 
by  an  interruption  of  the  natural 
rhythmical  flow  (syncopation),  whereby 
the  nalural  a.  is  thrown  back  to  an 
otherwise  less  accented  or  non-accented 
beat. —4.  See  Accent  us. — 5.  An  obso- 
lete harpsichord-grace  resembling  the 
appoggiatura  ; 

A      or  or 


written  :  /L — 


played  : 


Accen'tor.     The  leading  singer  in  a  choir 

or  vocal  performance. 
Accentuie'ren  (Ger.)    To  accent. .  .^c- 

centuie/ter  Dttrch'gaiig,  a  passing-note 

or  -chord  on  a  strong  beat. 

Accen'tus  (Lat.)  In  the  R.  C.  Church, 
that  part  of  the  service  which  is  chanted 
or  intoned  at  the  altar  by  the  officiating 
priest  and  his  assistants  ;  opp.  to  Coii- 
centus,  the  part  taken  by  the  choir, 

Accen'tus  ecclesias'tici  (Lat.)  The 
musical  inflections  observed  in  intoning 
the  gospels,  epistles,  etc.,  correspond- 
ing to  a  certain  extent  with  the  punctua- 
tion. There  are  7  accents  :  (i)  accent  us 
immuta'hilis,  the  voice  neither  rising 
nor  falling  ;  (2)  a.  tiie'dius,  falling  a 
third  ;  (3)  a.  gra'vis,  falling  a  fourth  ; 
(4)  a.  acu'tns,  first  falling  a  third,  then 
rising  to  the  reciting-note  ;  (5)  a.  mode- 
ra'tiis,  first  rising  a  second,  then  fall- 
ing to  the  reciting-note  ;  (6)  a.  inter- 
rogati'vus,  at  a  question,  first  falling  a 
second,  then  rising  to  the  reciting-note  ; 
(7)  a.  fina'lis,  falling  at  the  end  of  a 
sentence  by  a  fourth,  by  a  diatonic  pas- 
sage through  the  intervening  tones. 

Accessis'ten  (Ger.)  Unpaid  choir- 
singers,  supernumeraries. 

Accessory  note.  In  a  trill,  the  higher 
auxiliary. 

Acciacca'to,-a  (It.)     Vehemently. 

Acciaccatur'  (Ger.)  In  organ-playing, 
the  doubling  by  the  left  hand  of  the  \ 
chord  on  the  dominant,  its  resolution 
to  the  dominant  chord  being  effected 
by  the  right  hand  alone. 

Acciaccatu'ra  (It.)  i.  (Ger.  Zusam'- 
menschlag ;  Vr.  pine/  /touffe.)  A  grace 
on  keyboard  instr.s,  the  semitone  below 


a  melody-note  or  chord-note  being 
struck  with  the  latter,  but  instantly 
released  : 


written 


2.  Same  as  short  appoggiatura.  —  3  (in 
Ger.  usage).     Same  as  Acciaccatur. 

Accident  (Fr.)     Accidental. 

Accidental.  (Ger.  zu'fdlliges  Verse'- 
tzungszeichen ;  Fr.  accident,  or  signe 
accidentel ;  It.  acciden'te.)  A  chro- 
matic sign  not  found  in  the  signature, 
set  before  a  note  in  the  midst  of  a  com- 
position.    (See  Chromatic  Signs.) 

Accolade  (Fr.)     Brace. 

Accompaniment  (Ger.  Beglci'tung  ;  Fr, 
aceoiupagneiitent ;  It.  accoinpagna- 
men'to.)  The  accessory  part  or  parts 
attending  the  voices  or  instr.s  bearing 
the  principal  part  or  parts  in  a  musical 
composition.  Its  intention  may  be  to 
enhance  the  general  effect,  or  to  steady 
the  soloists  either  as  regards  rhythm  or 
pitch.  Either  one  or  more  instr.s,  or  a 
vocal  chorus,  may  carry  outanrtcr. — An 
ace.  is  ad  li'biium  when  the  piece  can 
be  performed  without  it,  and  obbliga'to 
when  of  vital  importance  to  the  latter. 
— Ace.  of  t/'ie  scale,  the  harmonies  as- 
signed to  the  successive  tones  of  the 
ascending  or  descending  diatonic  scale. 
— Additional  accompaniments,  parts 
added  to  a  composition  by  some  other 
than  its  original  author. 

Accompanist.  (Ger.  Beglei'ter;  Fr. 
accompagiiatcur  m.,  -trice  f. ;  It.  ac- 
compagnato're  m.,  -tri'ce  f.)  One  who 
executes  an  accomp. 

Accompany.    (Ger.    beglei'ten ;  Fr.  ac- 
compagner  ;    It.    accovipagna're.)      To  , 
perform  an  accompaniment. 

Accoppia'to  (It. ,  ' '  coupled.")  Tied. . . 
Accoppiamen'to,  pedale  di,  see  Pedal, 
sustaining. 

Accord  (Fr  )  l.  A  chord. — A.  a  Vonvert, 
chord  produced  by  sweeping  only  open 
strings. .  .,4.  fondamental,  ox  naturel, 
fundamental  chord.  ..,4.  par  fait  (or 
triade  harmonique),  common  chord, 
triad... yi.  plaqu/,  a  solid  chord  (not 
arpeggio'd). .  .^.  renversd,  inverted 
chord. — 2.  Tune  (i.e.  the  state  of  being 
in  tune). .  .^tre  d' accord,  to  be  in  tune. 
— 3.  Accords  (pi.,  poetical).  Strains, 
harmonies.— 4.  Accordatura. 


ACCORDABLE— ACOUSTICS. 


Accordable  (Fr.)  Tunable,  that  may  be 
tuned. 

Accordamen'to  (It.)  Accordance  ;  con- 
sonance. 

Accord'ance.  An  English  equivalent 
io\  Accordatura  ;  used  in  Grove,  vol. 
IV,  p.  187/',  i.9-10,  and  foot-note. 

Accordan'do  (It.)  Accordant,  in  tune, 
tuned  together ;  applied  also  to  comic 
scenes  in  which  the  tuning  of  an  instr. 
or  instr. s  is  imitated  by  the  orchestra. 

Accordant  (Fr.)    Consonant. 

Accorda're  (It.)  To  tune,  tune  to- 
gether. 

Accordato'io  (It.)  Tuning-key,  tuning- 
hammer. 

Accordatu'ra  (It.;  see  Accordance.) 
The  series  of  tones  according  to  which 
a  stringed  instr.  is  tuned  ;  thus^'--(/'-rt'- 
e^  is  the  a.  of  the  violin. 

Accorder  (Fr.)  To  tune. .  .  S^accordcr, 
to  tune  together,  get  the  pitch  (as  an 
orchestra). 

Accordeur  (Fr.)  i.  Tuner. — 2.  The 
monochord. — 3.  A  small  instr.  contain- 
ing 1 2  steel  tuning-forks  set  on  a  sound- 
board and  yielding  the  X2  tones  of  the 
equally  tempered  scale. 

Accor'dion.  (Ger.  Accot-'deon,  Akkor'- 
dion,  Zieh' harmoiiika ;  Fr.  accordcon; 
It.  acan-'dcon.)  A  free-reed  instr.  in- 
vented by  Damian,  of  Vienna,  in  1829. 
The  elongated  body  serves  as  a  bellows, 
which  can  be  drawn  out  or  pushed  to- 
gether at  will  ;  the  bellows  is  closed  at 
either  end  by  a  keyboard,  that  for  the 
right  hand  having  a  diatonic  (or  incom- 
plete chromatic)  scale,  while  that  for 
the  left  has  2  or  more  keys  for  harmonic 
bass  tones.  There  are  two  sets  of 
reeds,  one  sounding  when  the  bellows 
is  opening,  by  suction,  the  other  when 
it  is  closing.     (Compare  Concertina.) 

Accor'do  (It.)  I.  A  chord. ..^.  con'- 
sono  {dis'sotio),  a  consonant  (dissonant) 
chord. — 2.  An  instr.  formerly  used  in 
Italy,  resembling  the  bass  viol,  having 
from  12  to  15  strings,  and  played  with 
a  bow  in  such  a  way  that  several  strings 
were  caused  to  vibrate  at  once  ;  em- 
ployed where  powerful  harmonies  were 
required.  (Also  called  the  modern  lyre, 
and  Barbary  lyre.) 

Accordoir  (Fr.)  Tuning-hammer,  tun- 
ing-key ;  (org.)  tuning-cone  or  -horn. 

Accoupler  (Fr.)     To  couple. .  .  Tirant  a 


a. ,     coupler. .  .Accouplez,       ' '  couple,  " 

(i.e.   "  draw  coupler  "). 
Accrescen'do  (It.)     Same  as  Crescendo. 
Accrescimen'to  (It.)   Augmentation  (of 

a  fugal  theme)...     Pun' to  d'accr.,Ao\. 

of  prolongation  (^'.). 
Accresciu'to  (It.)     Augmented. 

Aceta'bulum.  Latin  name  for  an  an- 
cient Gk.  instr.,  of  percussion.  The 
acctahula  were  earthen  or  metallic  ves- 
sels struck  with  sticks,  like  a  carillon, 
or  clashed  together,  like  cymbals. 

Acht  (Ger.)  Eight . . .  Acht'fussig,  8-foot 
. .  .Acht'stimmig,  in  or  for  8  parts, 
8-part. 

Ach'tel,  Ach'telnote  (Ger.)  An  eighth- 
note.  .  .Ach'telpause,  eighth-rest. 

Ac'ocotl.     A  wind-instr.  of  the  Mexican 

aborigines,  consisting  of  a  thin  tube  8 
or  10  feet  long  made  of  the  dried  stalk 
of  the  plant  acocoll,  and  played  by  in- 
haling the  air  through  it.  (Also  called 
Clarin.) 
Acoustic  color.  The  timbre  (character 
or  quality)  of  a  mus.  tone. 

Acoustics.  (Ger.  Aku'stik  ;  Fr.  acous- 
tiquc ;  It.  acu'stica.)  The  science  of 
the  properties  and  relations  of  sounds. 
§1.  Musical  acoustics,  the  science 
of  mus.  tones,  distinguishes  between 
tones  and  noises.  A  tone  of  sustained 
and  equal  pitch  is  generated  by  regular 
and  constant  vibrations  of  the  air,  these 
being  generated  by  similar  vibrations 
in  the  tone-producing  body  ;  whereas  a 
noise  is  caused  by  irregular  and  fluctu- 
ating vibrations.  Briefly,  "  the  sen- 
sation caused  by  a  tone  is  produced  by 
rapid  periodic  movements  ;  that  caused 
by  a  noise,  by  imperiodic  movements  " 
(IIelmholtz).  But  a  sonorousor  tone- 
producing  body  vibrates  not  only  as  a 
whole,  but  in  its  various  fractional  parts 
as  well.  Take  a  pfte. -string,  for  in- 
stance ;  when  struck  by  the  hammer  it 
vibrates,  not  simply  as  a  whole  in  its 
entire  length,  but  each  half,  each  i,  i,  ^ 
etc.,  of  the  string  vibrates  by  itself,  as 
it  were  (comp.  A^ode),  and  produces  a 
tone  of  a  pitch  corresponding  to  its  own 
length  ;  the  T-string  thus  produces,  be- 
sides the  fundamental  tone  or  generator, 
C,  its  octave  r  (^  of  string),  its  twelfth^ 
•J),  fifteenth  c^  {^),  seventeenth  e^  {\), 
nineteenth^'  (I),  etc.  The  points  of  rest 
in  the  string  (or  other  tone-producing 
body)   where    such    vibrating   portions 


ACOUSTICS. 


meet,  are  called  nodes,  or  nodal  points  ; 
the  tones  produced  by  the  vibrating  di- 
visions are  called  harmonics,  or  over- 
tones ;  and  the  entire  series,  including 
the  generator,  are  called  partial  tones. 


being  considered  parts  of  the  composite 
tone  (clang)  named  after  the  generator. 
The  series  of  partial  tones  may  be 
given  in  notes  as  follows,  numbered 
consecutively  from  C  upward  • 


1^=^^ 


zr    5    6 


^i^=^Bi 


^ 


:(»)« 


fe)-. 


1  -tSh     ^ 

C:  I 


12      13       14       15       16 


Ill  (=  major  triad). 

(Notes  marked  *  are  only  approximately  correct.) 


The  intensity  of  the  harmonics  ordin- 
arily decreases  rapidly  as  their  pitch 
becomes  higher. 

§2.  The  harmonics  are  important  in 
many  ways.  (a)  Their  presence  in 
varying  degrees  of  intensity  produces 
the  timbre  peculiar  to  the  several  instr.s; 
thus  the  tone  of  the  stopped  diapason 
(organ),  in  which  they  are  weak,  is  soft 
and  "hollow";  the  tone  of  an  old 
violin,  in  which  the  lower  harmonics  are 
well-developed  and  evenly  balanced,  is 
mellow,  round,  and  sonorous:  that  of  the 
trumpet,  in  which  the  high  dissonant 
harmonics  also  make  themselves  felt, 
is  ringing,  "metallic,"  and  brilliant. 
(Compare  Scale.). — {!>)  On  bowed 
instr.s  they  yield  an  additional  and 
highly  characteristic  register  (see  Har- 
monic 2). — ((■)  On  wind-instr.s,  from 
which  they  are  obtained  by  varying  the 
intensity  and  direction  of  the  air-cur- 
rent, they  are  indispensable  for  extend- 
ing and  completing  the  natural  scale  ; 
thus  the  bugle  and  French  horn,  which 
yield  but  one  fundamental  tone  (without 
keys  or  valves),  depend  entirely  on  the 
harmonics  for  the  production  of  their 
scale  ;  the  flute  depends  upon  overblow- 
ing, which  produces  the  harmonics  of 
Its  tube,  for  its  upper  register;  etc., 
etc. — ((/)  Musical  theory  owes  highly 
important  discoveries  to  the  investiga- 
tion of  the  harmonics,  of  which  discov- 
eriefi  practical  music  in  turn  reaps  the 
benefit  (improved  construction  of  many 
instr.s).  (Comp.  Scale.) 
§3.  By  sounding  two  tones  together, 
various  phenomena  are  produced,  {a)  2 
tones  of  nearly  the  same  pitch  produce 
beats.  E.  g.  if  the  one  makes  442  vibra- 
tions per  second  and  the  other  440,  the 


difference,  2,  represents  the  number  of 
beats  per  second,  a  beat  being  the  pul- 
sation or  throb  caused  by  the  coinci- 
dence of,  and  consequent  momentary 
increase  of  the  intensity  in,  the  sound- 
waves of  the  two  tones  ;  this  coinci- 
dence recurring  regularly  at  every  221st 
vibration  of  the  first  tone  and  220th 
vibration  of  the  second. — {b)  As  soon 
as  the  number  of  beats  per  second 
amounts  to  about  32,  the  ear  no  longer 
distinguishes  them  as  separate  throbs, 
and  they  unite  to  form  a  very  low  tone 
(32  v.  =  C2),  called  a  combinational, 
summational,  or  restdtant  tone ;  in  fact, 
the  various  combinations  of  interfering 
vibrations  produce,  in  their  different 
combination,  a  series  of  harmonics,  the 
lowest  and  chief  among  which  is  always 
the  generator  of  the  series  to  which  the 
two  original  tones  belong.  Thus,  accord- 
ing to  'fartini,  the  interval  ^-c-'  produces 
the  following  series  of  resultant  tones  : 


I  ---S- 


m 

4 1)  ( 


=fei= 


etc. 


■ — (r)  In  the  series  of  partials  given  in 
§1,  those  belonging  to  the  major  scale 
of  the  generator  C  are  written  as  half- 
notes  ;  the  consonance  of  the  major 
triad  is  derivable  from  and  based  upon 
the  principal  partial  tones.  In  like 
manner,  the  consonance  of  the  minor 
triad  is  derived  from  a  reverse  series  of 
hnver  partials,  the  existence  of  which 
is  proved  by  the  phenomena  of  sympa- 
thetic vibration  and  of  the  resultant 
tones.  In  this  series  of  lower  partials 
(undertones). 


ap  (minor  triad  ;  c  =  phonic  root  [see  Phone^. 


ACT— iEOLIAN  ATTACHMENT. 


the  numerals  also  represent  the  relative 
length  of  the  strings  necessary  to  yield 
the  several  tones  ;  while  in  the  series  of 
higher  partials  (overtones)  the  string- 
lengths  are  represented  by  the  simple 
fractions  formed  by  the  numerals. — ((/) 
From  the  relative  number  and  import- 
ance intensity)  of  the  first  6  partials  in 
either  series,  it  follows,  that  the  only 
consonant  chords  are  the  major  and 
minor  triads,  and  that  the  only  conso- 
nant intervals  are  such  as  are  derived 
from  these  chords  or  their  inversions  ; 
the  addition  of  any  further  tone,  either 
found  in  or  foreign  to  the  series  of  par- 
tials, produces  a  dissonance. 

Act.  (Ger.  Akt,  Atif'ziig ;  Fr.  acte ; 
It.  at' to.)  One  of  the  principal  divi- 
sions of  a  dramatical  performance. 
Acte  de  cadence  (Fr.)  A  progression 
in  one  of  the  parts,  particularly  the 
bass,  which  forces  the  others  to  join 
either  in  forming  a  cadence,  or  in  avoid- 
ing one  apparently  imminent. 
Actin'ophone.      An   apparatus   for   the 

production  of  sound  by  actinic  rays. 
Action.  (Ger.  Mccha'nik ;  Fr.  nu'ca- 
nique ;  It.  mecca'nica.)  In  keyboard 
instr.s,  the  mechanism  directly  actuated 
by  the  player's  finger,  or  set  in  motion 
by  the  organ-pedals. — In  the  harp,  the 
action  (pedals)  does  not  directly  produce 
the  sound,  but  effects  a  change  of  key 
by  shortening  the  strings,  whereby  chro- 
matic alterations  of  a  semitone  or  a 
whole  tone  result.  (See  Pianoforte, 
Organ.) 
Act-tune.      Music    performed    between 

the  acts  of  a  drama  ;  an  entr'acte. 
Acu'ta  (Lat.,    "sharp,   shrill.")     In  the 
organ,    a   mixture-stop   having  3   to  5 
ranks  of  from  if  to  i  foot,  usually  in- 
cluding a  Third  ;  its  compass  is  higher 
than  that  of  the  ordinary  Mixture. 
Acu'tae  cla'ves(Lat.;   also  acuta  loca, 
cuutcB    voces.)      Literally,     acute    keys 
(pitch,  voices)  ;  the  tones  from  a  to  g^ 
inclusive  ;  so  termed  by  Guido  d'Arezzo. 
Acute.     (Ger.  scharf,  hoch  ;   Fr.  aign  ; 
It,  acu'to.)   High  in  pitch,  sharp,  shrill ; 
said  of  tones  ;  opp.  to  grave. 
Acutez'za  (It.)     Acuteness  ;   sharpness 

(of  pitch). 
Acu'tus  (Lat.)     See  Accentus  eccL,  4. 
Adagiet'to  (It.)  i.  A  movement  slightly 
faster  than  adagio. — 2.  A  short  Adagio. 
Ada'gio  (It.,  "  slow,  leisurely.")    A  slow 


movement  (comp.  Tempo-marks). .  .A, 
assa'i,  A.  mol'to,  very  slow...^.  turn 
tan' to,  nonmolto,  not  too  slow. .  .Adagio 
adagio,  very  slow. .  .Superlative adagis' 
si  mo. 

Adaptation.     Same  as  Arrangement. 

Ada'sio  (It.)     Same  as  Adagio. 

Added  sixth.     See  Sixth. 

Addita'to  (It.)  Provided  with  a  finger- 
ing, fingered. 

Addition.     Obsolete   term    for    the   dot 

(J.)- 
Additional  accompaniments.    Sec  Ac' 

compa7iiment . .  .Ad- 
ditional keys,  those 
above  f^ 


m 


Addolora'to  (It.)  Plaintive  ;  in  a  style 
expressive  of  grief. 

Adi'aphon.     See  Ga'belklavier. 

Adi'aphonon.  A  keyboard  instr.  in- 
vented by  Schuster  of  Vienna  in  1820. 

Adira'to  (It.)     Angry,  wrathful. 

Ad'junct.  Closely  related,  as  one  keyot 
scale  to  another.  .  .A.  tiote,  an  auxiliary 
note,  unaccented,  and  unessential  to 
the  harmony. 

Ad'juvant.  The  cantor's  assistant,  as- 
sistant teacher. 

A'dler    (Ger.)     An  obsolete  organ-stop. 

Ad  li'bitum  (Lat.,  "at  pleasure,"  "at 
will.")  A  direction  signifying (i)  that  the 
performer  is  free  in  choice  of  expression 
or  tempo  ;  (2)  that  any  vocal  or  instru- 
mental part  so  marked  is  not  absolutely 
essential  to  a  complete  performance  of 
a  piece .  .  .  Cadcn'za  ad  lib.  thus  means, 
that  a  given  cadenza  may  be  performed 
or  not,  or  another  substituted,  at  the 
executant's  discretion. 

Ad  lon'gam  (Lat.,  "  with  the  long.")  A 
term  applied  to  certain  ancient  church- 
music  written  entirely  in  equal  notes, 
generally  the  longest  in  use. 

Adornamen'to  (It.)    A  grace. 

Adquis'ta    or    adsum'ta  (vox)  (I>at., 
"the  added  tone.")     The  lowest  tone 
of  the  scale,  the  Proslambanom'enos. 
.^'erophon.     See  Harmonium. 
.^olharmon'ica.     See  Seraphine. 
iEolian   attachment.     An   attachment 
to  a  pfte.  for  directing  a  current  of  air 
against  the  strings,  reinforcing  their  vi- 
bration and  thus  prolonging  and  sus- 
taining  the   tones ...  ^/^<'//(7«    harp   at 
lyre.    (Ger.  A'olsharfe,  Wind'-,  Wef- 


to 


MOLINA— AGGIUSTATAMENTE. 


ter-  or  Gci'sterharfe ;  Fr.  harpe  /oli- 
enne,  harpe  d' Eole ;  It.  ar'pad'E'olo.) 
A  stringed  instr.  sounded  by  the  wind. 
It  consists  of  a  narrow,  oblong  wooden 
resonance-box,  across  tlie  low  bridges 
at  either  end  of  which  are  stretched  gut 
Strings  in  any  desired  number  and  of 
different  thickness  and  tension,  but  all 
producing  the  same  fundamental  tone. 
When  adjusted  in  an  appropriate  aper- 
ture, like  a  window  through  which  the 
air  passes  freely,  the  latter  causes  the 
strings  to  vibrate  and  to  produce,  if  the 
tension  be  properly  adjusted  (rather 
slack  than  otherwise),  full  chords  com- 
posed of  tiie  harmonics  of  the  funda- 
mental tone  common  to  all  the  strings  ; 
and  rising,  according  to  the  force  of  the 
wind,  from  pure,  dreamy,  deliciously 
vague  harmonies  to  a  plaintive  wail  or 
a  thrilling  forte ...  ^-Eo Han  modt\  see 
Greek  viicsic . .  .ALolian  piano,  see 
Aolsklavier. 

Molina.  I.  A  small  instr.  consisting  of  a 
graduated  series  of  free  reeds  set  in  a 
metal  plate  and  blown  by  the  mouth  ; 
invented  by  the  Messrs.  Wheatstone  in 
1829.  As  the  first  practical  attempt  to 
use  free  reeds  in  this  way,  it  may  be  re- 
garded as  the  precursor  of  the  accordion 
and  melodion.  The  Germans,  how- 
ever, claim  the  invention  for  Eschen- 
bach,  of  Hamburg,  about  1 800. — 2.  An 
organ -stop  constructed  on  the  same 
principle  as  the  above,  without  (or  with 
very  short)  pipe-bodies,  and  of  very 
soft  tone. 

iEoIo'dicon.  A  keyboard  instr.  em- 
bodying the  principle  of  the  ^-Eolina, 
and  the  direct  precursor  of  the  harmo- 
nium. (Also  yEolodion,  Klaviioli'uc, 
etc.)...  A  further  modification  was  the 
yEolomclo'  dicon,  invented  by  Prof. 
Hoffmann  of  Warsaw  about  1825,  in 
which  short  brass  tubes  were  added  to 
the  reeds. 

.^olopan'talon.  An  ^olomelodicon 
combined  with  a  pfte.,  constructed 
about  1830  by  Dlugosz  of  Warsaw. 

Aequal'  (Ger.)  Formerly,  an  independ- 
ent 8-foot  organ-stop  {Aeqtial's/im/ne) ; 
still  used  as  prefix  to  names  of  organ- 
stops,  indicating  that  they  belong  to 
the  standard  8-foot  registers;  as  Acqual'- 
prinzipal,  etc. 

^quiso'nus  (Lat. ;  Ger.  dqidson'.)  Uni- 
son  (of  either  primes  or  octaves). 

^quiva'gans(Lat.)     Denotes  simultan- 


eous syncopation,  or  "deviation  from 
the  natural  order  "  of  the  measure,  in 
all  the  parts. 

AEVIA.  A  frequent  abbr.  of  Alleluia 
in  MS.  music  of  the  middle  ages. 

Affa'bile  (It.)     Sweetly  and  gracefully, 

gently. 
Afifanna'to  (It.)    Uneasily,  distressfully. 

Affannosamen'te  (It.)  Anxiously,  rest- 
lessly .  .  .Affanno'so,  an.\ious,  restless. 

Affet'to  (It.)  Emotion,  passion,  tender- 
ness. ..Coit  a.,  ox affeltnosaincn'te,  affet- 
ttio'so,  with  emotion  or  feeling,  very 
expressively.     (Compare  Innig.) 

Affezio'ne,  coa  (It.)  In  a  style  express- 
ive of  tender  emotion. 

Affilar'  (or  filarO  il  tuo'no  (It.)  In  the 
Italian  school  of  singing,  to  produce  3 
long-sustained  and  uniform  tone  ;  near- 
ly the  same  as  metier  la  voce,  messa  di 
voce,  except  that  with  these  a  crescendo 
or  decrescendo  is  usually  to  be  combined. 

Affinity  (Fr.)     Affinity,  relationship. 

Afflit'to  (It.)  Melancholy,  sad...^j^»- 
sio'iie,  con,  sorrowfully,  mournfully. 

Affrettan'do  (It.)  Hurrying  {stringendd) 
. .  .Affrctto'so,  hurried  (//'«  mosso). 

After-beat.  (From  Ger.  N'ach'scJdag; 
Fr.  note  de  compUment,  terminaison.) 
An  ending  added  to  a  trill,  comprising  2 
notes,  the  lower  auxiliary  and  the  main 
note  ;  compare  Trill. 

After-note.  I.  Occasional  for  unac- 
cented appoggiaiiira. — 2.  The  unac- 
cented note  of  a  pair. 

After-striking.  (Ger.  Nach'schlagen^ 
The  reverse  of  anticipation  by  the 
bass ;  e.g. 

X- 


(Compare  Anticipation^ 

Agen'de  (Ger.,  from  Tat.  agen'da.)  Bre- 
viary, more  especially  of  the  Ger.  Re- 
formed Church,  containing  in  regular 
order  the  formularies,  prayers,  respons- 
es, collects,  etc.,  employed  in  religious 
exercises. 

Age'vole  (It.)  Easy,  light. ..  Agevolez'^ 
za,  con,  easily,  lightly. 

Aggiustatamen'te  (It.)  Strictly  in  tirac 


AGGRAVER  LA  FUGUE— ALLEGRETTO. 


Aggraver  la  fugue  (Fr.)  To  aug- 
ment the  theme  of  a  fugue. 

Agiatamen'te  (It.)    Easily,   indolently. 

Agilita'  (It.)  )  Agility,  sprightliness,  vi- 

Agilit€  (Fr.)  j  vacity ;  con  a.,  in  a 
light  and  lively  style. 

Agilmen'te  (It.)  Nimbly,  lightly,  vi- 
vaciously. 

Agitamea'to  (It.)  Agitation..  .^^;7a- 
iamen'ie,  conagitazio'ne,  e.xcitedly,  agi- 
tatedly. .  .Agita'to,  agitated  ;  a.  conpas- 
sio'ne,  passionately  agitated. .  .^^zVa- 
zio'ne,  agitation. 

Ag'nus  De'i  (Lat.,  "Lamb  of  God.") 
Closing  movement  of  the  mus.  Mass. 

Ago'ge  (Gk.)  The  order,  with  refer- 
ence to  pitch,  in  which  the  tones  of  a 
melody  succeed  each  other. .  .A.  rhyth'- 
tnica,  their  succession  with  reference  to 
accent  and  rhythm  ;  tempo. 

Ago'gik  (Ger.)  Theory  of  the  tempo 
rubato. .  .  Ago'gisch,  relating  to  such  de- 
viations from  the  tempo..  .Ago'gischer 
Accent'  (Riemann),  a  sign(A)over  a 
note  indicating  the  slight  prolongation 
of  its  value  required,  in  certain  rhythms, 
to  mark  the  culminating  point  of  the 
measure-motive. 

Agraffe'.  In  thepfte.,  a  small  metallic 
support  of  the  string,  between  bridge 
and  pin,  serving  to  check  vibration  m 
that  part. 

Agr^mens  (Fr.,  pi.)  Harpsichclfd- 
graces. 

Aigu,  aigue  (Fr.)  Acute ;  also  used 
substantively,  e.  g.  passer  de  I'aigu  au 
grave. 

Air.  (Ger.  Melodie\  JFei'se,  Sing'^veise  ; 
Fr.  air,  me'lodie ;  It,  a'ria.)  I.  A 
rhythmical  melodious  series  of  single 
tones  in  a  metrical  (symmetrical)  group- 
ing easily  recognizable  by  the  ear ;  a 
tune  or  melody. — 2.  The  highest  part 
in  a  harmonized  composition. .  .Nation- 
al air,  a  melody  become  thoroughly 
popular  through  long  usage  and  pecu- 
liar fitness,  recognized  as  a  national 
emblem,  and  performed  at  public  festi- 
vals, etc. 

Air  (Fr.)  Air,  melody,  tune  ;  also  song, 
as  Airs  a  boire,  drinking-songs. .  .Also, 
instrumental  melody,  as  air  de  violon, 
de  fiUte  ;  air  de  ballet,  de  danse,  etc. .  . 
Also,  aria  ;  air  d^tach^,  any  single  aria 
taken  from  an  opera. 

Als  (Ger.)    A%—A 'isis,  A  x  . 


Ajout6,-e  (Fr.)  Added.  (See  Zigne,  Six- 
te.)..  .Ajoutez,  "add"  (organ-mus.) } 
abbr.   ajout. 

Ajuster  (Fr.)     See  Accorder. 

Akkord'  (Ger.)  i.  Kf:Vox6....Akkor<^. 
passage,  arpeggio. .  .  A  kkord'zithe ',  the 
autoharp. — 2.  A  set  of  severa'  instr.s 
of  one  family,  but  different  In  size, 
as  made  from  the  15th  to  the  1 8th 
century  (comp.  Engl,  chest  or  consort 
of  viols).     (Also  Stimtn'werk) 

Akkor'dieren  (Ger.)  i.  To  tune  an 
instr.,with  reference  to  the  harmony  of 
its  principal  chords. — 2.  To  get  the 
pitch  (said  of  the  orchestra). 

Akroama'tisch  (Ger.)  Pleasing  to  the 
ear  ;  said  of  music  depending  more  up- 
on outward  effect  than  on  depth. 

Akt  (Ger.)     Act. 

Aku'stik  (Ger.)  Acoustics  ;  aku'stisch, 
acoustic. 

Al  (It.)  To  the,  up  to  the,  at  the,  in 
the,  etc. 

Alargando  (It.)     Properly  allargando. 

Alber'tischer  Bass  (Ger.)  Albert! 
bass.     (See  Bass.) 

Alcu'no  (It.)     Some,  certain. 

Alexandre  organ.  See  American  or. 
gan. 

Al'iquot  (Lat.)  Forming  an  exact  mea^ 
sure  of  something ;  a  factor,  or  even 
dWisor. .  .A'liquotjlugel  (Ger.)  A 
grand  piano,  invented  by  Julius  Bluth- 
ner  of  Leipzig,  the  tone  of  which  is 
reinforced  and  enriched  by  an  addition- 
al sympathetic  string  stretched  over, 
and  tuned  in  the  higher  octave  to,  each 
unison.  These  added  strings  are  not 
struck  by  the  hammers,  and  are  called 
A'liquotsaileti. ..A'liqttotthcorie,  theory 
of  overtones  produced  by  the  vibration 
of  strings  or  of  wind-instr.s.  Such 
overtones  or  harmonics  are  called  A'li' 
quottdne. 

Air,  al'la  (It.)  To  the,  at  the,  in  the  ; 
in  the  style  of. 

Allabre've  (Ger.)  See  ^ //«  <^/rzr,  under 
Breve. .  .Allabre'vetakt,  alia  breve  time. 

Allargan'do  (It.)    S3im&  a.s  La rgando. 

Allegramen'te  (It.)  Nimbly,  lightly, 
vivaciously. 

Allegretti'no  (It.)  A  short  Allegretto  ; 
aLso,  a  movement  slower  than  alle- 
gretto. 

Allegret'to    (It.,  abbr.  a//-**.)     Dimin. 


ALLEGREZZA— ALPHABETICAL  NOTATION. 


of    allegro ;    moderately    fast,     lively ; 

faster  than  andante,  slower  than  allegro. 
Allegrez'za  (It.)     Liveliness,  vivacity. 
Allegris'simo  (It.)     Superl.  of  allegro  ; 

extremely  rapid,  as  quick  as  possible  ; 

■=zpresto  assai. 

Alle'gro  (It.,  abbr.  all'.)  Lively,  brisk, 
rapid.  Used  substantively  to  designate 
any  rapid  movement  slower  than  pre- 
sto. ...-i.  assa'i,  a.  di  inol'to,  very  fast 
(usually  faster  than  the  foregoing  move- 
ment). ../f.  di  bravu'ra,  a  technically 
difficult  piece  or  passage  to  be  executed 
swiftly  and  boldly. .  .A.  gin's  to,  a  move- 
ment the  rapidity  of  which  is  conformed 
to  the  subject.. .  .i4.  risolu'lo,  rapidly  and 
energetically;  etc.,  etc. 

Allein'  (Ger.)    Alone. 

Allelu'ia  (Hebr.)  Lit.  "Praise  ye  the 
Lord,"  an  exclamation  closing  various 
Psalms,  or  introduced  in  their  midst. 
Taken,  by  the  early  Christian  Church, 
from  the  ancient  Hebrew  ritual,  it  de- 
veloped into  the  long  jubilations  (see 
Jubilatid)  of  the  early  middle  ages  (on 
the  vowels  AEVIA),  to  the  melodies  of 
which  were  set,  after  the  adoption  of 
the  cantus planus,  special  words.  (Also, 
Hallelu'jah.) 

Allemande  (Fr.;  It.  aller?!an'da.)  i. 
A  Ger.  dance  in  3-4  time,  like  the 
Liindler. — 2.  A  lively  Ger.  dance  in 
2-4  time. — 3.  A  movement  in  the 
Suite,  either  the  first  or  immediately 
following  the  prelude,  in  4-4  time  and 
moderate  tempo  (andantind),  commenc- 
ing with  a  short  note  in  the  anftakt. — 
4.     A  figure  in  dancing. 

Allentamen'to  (It.)  Same  as  Rallen- 
tando.     (Also  allcntan'do,  allenta'to.) 

Arie  Sai'ten  (Ger.)  Same  as  Tutte 
corde. 

AH'gemeiner  Bass  (Ger.)  Thorough- 
bass.    (Now   General'bass.) 

AlImah'Hch  (Ger.)  Gradually,  by  de- 
grees.    (Also  allrndh' lig,  allmd'lig.) 

Allonger  I'archet  (Fr.)  To  prolong 
(the  stroke  of)  the  bow. 

Allo'ra  (It.)    Then. 

Almain',  Almand',  Alraayne'.  Same 
as  Allematide. 

Al'penhorn,  Alp'horn  (Ger.)  The 
alp-horn,  an  instr.  made  of  strips  or 
staves  of  wood  firmly  bound  together 
to  form  a  conical  tube  from  3  to  8  feet 
long,  the  bell  slightly  curved  upward, 
and  with  a  cupped  mouthpiece  of  hard 


wood.  The  scale  of  the  tube  is  nar- 
row,  and  the  tones  produced  are  its 
natural  harmonics.  The  alpine  herds- 
men use  this  horn  to  play  the  Kanz  des 
vaches  and  other  simple  melodies. 
Alphabetical  notation.  Any  method 
of  writing  music  which  uses  the  letters 
of  the  alphabet. — The  earliest  known 
method  was  the  ancient  Greek,  which 
employed  two  parallel  series  of  letters, 
one  for  vocal  and  the  other  for  instru- 
mental music,  the  letters  being  various- 
ly inverted,  accented,  or  mutilated  to 
indicate  the  several  octaves  and  chro- 
matic tones.  This  method  was  retained, 
at  least  by  theorists,  down  to  the  10th 
century  (see  N'eumes),  when  the  begin- 
nings of  a  new  method  appeared,  em- 
ploying the  first  7  letters  of  the  Latin 
alphabet  A  B  C  D  E  F  G  for  the 
major  diatonic  scale  now  represented 
hy  C  D  E  F  G  A  B,  and  repeating 
the  same  series  for  the  higher  octaves. 
These  Latin  letters  were  at  first  used 
for  instrumental  notation  (psaltery  or 
rotta,  later  the  organ).  Their  significa- 
tion was  soon  altered,  however,  to  con- 
form to  that  of  the  earlier  Greek  sys- 
tem {minor),  the  series  then  agreeing 
with  our  present  one ;  the  Greek  i* 
{Gamma,  G)  was  added  as  the  lowest 
tone,  and  the  octaves  above  f  were 
written  ABCDEFG  abcdefg  aabbccdd 

eeffgg  etc.  (or  ^  J  J  ^  etc.) ;    though 

sometimes,  instead  of  small  letters,  the 
capitals  ran  on  {HIKLMNOP),  in 
which  latter  system  A  was  equivalent 
to  our  modern  C,  as  at  first.  Arbitrary 
innovations  led  to  great  confusion  in 
the  alphabetical  notation,  which  was  in 
reality  rendered  superfluous,  as  a  me- 
thod of  writing  music,  by  Guido  d'Arez- 
zo's  invention  or  systematization  (about 
1026)  of  line-notation  (see  A'otation). 
When  letters  were  used,  without  staff- 
lines,  instead  of  neumes,  they  were 
often  written  above  the  words  in  this 
wise  : 

E  EE  E       E 

/  /DD     C       /D       /      F 

r  /  /  r  f  I 

Qui  to  I    -    lis    pec     -      ca    -    ta 

i.e.,  in  notes  : 


^-fff^^^f^^:^^ 


=^= 


Qui   tol 


lis  pec     -    ca 


ALT— AMBROSIAN   CHANT. 


13 


ascending  or  descending  as  the  voice 
was  to  rise  or  fall. — Our  present  theo- 
retical division  of  the  octave  is  first 
found  fully  developed  in  the  works  of 
Praetorius  (1619)  ;  side  by  side  with 
which  the  old  method  of  writing  music 
{A-G,  a-g  etc.)  still  occurred,  until  the 
various  systems  of  tablature  were  given 
up  (comp.  Tablature). — Letters  are  no 
longer  used  in  practical  mus.  notation, 
except  by  Tonic  Sol-fa,  in  which,  how- 
ever, they  represent  no  fixed  pitch,  as 
formerly,  but  are  mere  abbreviations  of 
the  movable  solmisation-syllables.  In 
modern  theory,  letters  are  variously  em- 
ployed (comp.  Fitch,  absolute). 

Alt  (Ger.)  Alto  (voice  or  part).  ..In 
compound  words,  the  alto  instr.  of  any 
family,  as  Alt'geige,  Ali'hom,  Alf- 
klarinettc,  A  It' oboe,  Alt'viole,  etc. — 
(Engl.)  Hence,  the  same  employment 
in  English  usage  [alt-clarinet,  alt- 
horn]...  Notes  "in  alt"  are  those  of 
the  next  octave  (^ — f^)  above  f^ 
-  ;  notes  in    the  octave  above 

I /^  ;  ~r  this  are  said  to  be  "  in  altis- 
l^=^=simo". 

Altera're  (It.)     To  alter,  change. 

Altera'tio  (Lat.)    See  Notation,  §3. 

Alteration,  i.  Same  as  A  Iter  alio. — 2 
Chromatic  alteration  of  the  pitch  of  a 
note. 

Altera'to  (It.),  Alt6r6  (Fr.)  Chromatic- 
ally altered. 

Alterez'za  (It.)  Pride,  loftiness. — O'w 
a.,  in  a  lofty  and  dignified  style. 

Alternamen'te  (It.)  Alternatively... 
Alternan'do,  alternating. 

Alternati'vo  (It.)    See  Trio  2. 

Alt-horn.  (Fr.  saxhorn  alto;  Ger.  Alt'- 
horn.)     One  of  the  Saxhorns. 

Altieramen'te  (It.)  In  a  lofty  and  ma- 
jestic style. 

Alti  natura'li  (Lat.)  Natural  (male) 
altos,  or  counter-tenors.     (See  Alto.) 

Altis'simo  (It.)     Highest.     (See  Alt.) 

Alti'sta  (It.)  An  alto  or  contralto 
singer. 

Alt'klausel  (Ger.)  The  leading  of  the 
alto  part  in  a  perfect  close. 

Alto.  I.  (Fr.  haute -contr e ;  Ger.  Alt, 
Alf  stimme ;  It.  al'to.)  The  deeper  of 
the  two  main  divisions  of  women's  or 
boys'  voices,  the  contralto  ;  (in  Germany 
a  distinction  is  sometimes  made  be- 
tween Alt  and   Kon'traalt,    the    latter 


term  being  reserved  for  the  lower  alto 
voice).     Ordinary  compass  from  g  to  c^ 

fi  which,  in  voices  of  unusual 
i,^^i*n  range,  may    be    extended 


-r-t-j 


down  to  d  and  up  to 
f^,  oT  even  higher. — 2.  A  high  head- 
voice  in  men  (It.  al'ti  natura'li)  for- 
merly cultivated  for  the  performance 
of  church-music  (in  England  for  secu- 
lar music  as  well,  e.  g.  glees),  but  now 
generally  superseded  by  the  female  alto 
or  high  tenor. — 3.  (Ger.  B^a'tsche,  Alf- 
viole;  Fr.  alto,  qtiinte,  basse  de  violon; 
It.  al'to,  vio'la.)  The  tenor  violin,  or 
viola. 

Al't0,-a  (It.)  ll\g\\.  ..Otta'va  alia,  an 
octavehigher.  ..Alta  vio'la,  tenorviolin. 
.  .Alio  bas'so,  an  obsolete  variety  of 
dulcimer,  consisting  of  a  square  wooden 
box  set  on  legs  and  strung  with  gut.  It 
was  generally  employed  to  accompany 
simple  melodies  played  by  the  performer 
on  a  flageolet  held  in  his  right  hand,  the 
left  striking  the  strings. 

Alto-clef.     See  Clef. 

Alt'posaune  (Ger.)     Alto  trombone. 

Al'tro.-a  (It.)  Oihftv.  ..Alt r a  vol'ia, 
"  encore  ! " 

Alt'schliissel  (Ger.)     Alto-clef. 

Alt'viole  (Ger.)     Viola. 

Alzaraen'to  (It.)  A  raising  or  lifting 
(opp.  to  Abbassameftto).     Abbrev.  Ah. 

Ama'bile  (It.)     Sweet,  tender. 

Amare'vole  (It.)  Bitterly,  mournfully. 
(Sometimes  written  mistakenly  lor  A?no- 
re'vole,  Xoy'xvl'^'^.).  .  .Amarcz'za,  bitter- 
ness, sadness  ;  con  a. ,  grievingly. 

Amateur  (Fr.)  A  "  lover"  of  art,  who, 
while  possessing  an  understanding  for 
and  a  certain  knowledge  of  it,  does  not 
pursue  it  as  a  profession. 

Am'bitus  (Lat.)    Compass. 

Ambrosian  chant.  The  style  of  church- 
music  introduced  by  St.  Ambrose  (d, 
397)  from  the  Eastern  Church,  and 
established  by  him  in  the  cathedral  at 
Milan,  towards  the  end  of  the  4th  cen- 
tury. It  was  based  on  the  4  authentic 
modes 

d  e  f  g  a  b  c^  d^ 
e  f  g a  b c^  d'^  £^ 
fgabc^d^e^p 
g  a  b  c^  d^  e^  P  g^ 
and  was  thus  essentially  diatonic,  al- 
though    embellished    with     occasional 
chromatic    graces  ;    it     was     probably 
rhythmical,  in  contrast  to  the  later  de- 


14 


AMBROSIAN   HYMN— ANESIS. 


velopment  of  Plain  Chant.  Nothing 
positive  is  known  about  these  melodies, 
except  that  St.  Ambrose  introduced  the 
antiphonal  songs  and  hallelujahs  of  the 
Eastern  Church,  and  himself  composed 
numerous  hymns.  (Comp.  Gregor'^^n 
Chant.) 

Ambrosian  hymn  {hyn'nus  Ambrosia' - 
mis).  The  "  Te  deum  laudamus,"of 
which  St.  Ambrose  is  the  reputed 
author. 

Ame  (I'"r.)     Soundpost. 

American  organ.     See  Reed-organ. 

Amo're  (It.)  Love.  ..C^«  a.,  with  de- 
votion, fondly,  devotedly  ;  tenderly.  .  . 
A  more' vole,  amorevolnien' te,  lovingly, 
fondly,  etc. .  .  Amorosamen' te,  amorous- 
ly, lovingly,  fondly. .  .Amoro'so,  amor- 
ous, loving. 

A'morschali,  A'morsklang  (Ger.)  A 
French  horn  with  valves,  invented  by 
Kolbel,  of  St.  Petersburg  (1760);  its 
tone  was  lacking  in  purity,  and  the 
valve-mechanism  did  not  quite  do  away 
with  "stopping." 

Am'phibrach.  A  metrical  foot  of  3 
syllables  (-^  —  w) ;  opp.  to  amphim'ucer. 
Also  aniphibra'chys. 

Am'phichord.     See  Lira  barberina. 

Amphim'acer.  A  metrical  foot  of  3 
syllables  ( — ^ — );  o^^.Ko  am' pliibrach. 
[Also  amphimacrus^ 

Ampho'ter  ((Jer.)  Amphoteric  ;  said  of 
a  series  of  tones  "common  to  two" 
registers  of  the  same  voice. 

Amplitude  of  vibration.  See  Vibration. 

Amts'pfeiffer  (Ger.)    See  Stadtpfeiffcr. 

Amusement  (Fr.)     See  Divertisseinent. 

An  (Ger.)     On  ;  add  (i.e.  draw). 

Anacru'sis  (Gk. ;  Ger.  A  nakru'sis  [A  nf- 
iakt]  ;  Fr.  anacrouse.)  An  up-beat 
beginning  a  verse,  containing  I  or  2 
unaccented  syllables  ;  hence  transferred 
to  musical  rhythms,  for  which,  in  Eng- 
lish usage,  the  term  auftakt  is  often 
met  with. 

Analytical  programs  are  an  English 
invention  ;  analyses  of  the  mus.  form 
of  compositions  on  the  concert-pro- 
gram, with  quotations  from  the  music, 
date  from  1845  (Ella,  matine'es  of  Mus. 
Union).  The  most  ambitious  attempts 
of  this  kind  are  probably  H.  v.  Wolzo- 
gen's  '' Fiihrer"  (Guides)  "through" 
Wagner's  mus.  dramas. 

An'apest.    A  metrical  foot  of  3  syllables, 


the  first  2  short,  the  last  long  (--  ^  —^); 
the  reverse  of  the  Dactyl. 

Anche  (Fr.)  Reed  (of  any  instr.). .  .,4. 
lib  re,  free  reed... yt'M  d' anche,  reed- 
stop. 

An'che  (It.)     Also,  too,  likewise  ;  even. 

An'cia(It.)     Reed. 

Anco'ra  (It.)  Again,  also,  yet,  still, 
even. .  .Ancor'  piii  mos'so,  still  faster. 

An'dacht  (Ger.)  Devotion. .  .An'dachlig, 
or  mit  Andacht,  devotionally  (It.  de- 
vo'to,  con  devozio'ne). 

Andamen'to  (It.)  i.  Movement,  rate  of 
speed. — 2.  A  passage,  especially  an 
episode  in  a  fugue. — 3.  Specifically,  an 
extended  fugal  theme,  usually  consist- 
ing of  two  distinct  and  contrasting 
members.     (See  Soggetto.) 

Andan'te  (It.,  lit,  "going,  moving.") 
A  tempo-mark  indicating,  in  modern 
usage,  a  moderately  slow  movement, 
between  Adagio  and  Allegretto  ;  often 
modified  by  qualifying  words,  as  A. 
maesio'so,  A.  soste7tu' to,  a  stately  and 
tranquil  movement;  A.  con  moto,  A. 
un  poco  allegretto,  a  comparatively  ani- 
mated movement;  A.  canta'lnle,  a 
smoothly  flowing  and  melodious  move- 
ment ;  etc. —  In  earlier  usage  often  em- 
ployed in  its  more  literal  sense,  as  A. 
allegro,  "moving  rapidly;"  vie' no 
andante  ("less  moving  "),  slower. 

Andantemen'te  (It.)  Flowingly,  unin- 
terruptedly. 

Andanti'no  (It.)  Dimin.  of  Andante ; 
strictly,  slower  than  andante,  but  often 
used  in  the  reverse  sense. 

Anda're  (It.)  To  move  on. .  .A.  dirit'to, 
go  straight  on  ;  a.  in  tempo,  keep  to  the 
tempo. 

An'derungsabsatz  (Ger.)  Half-cadence, 
ending  on  the  dominant  triad. 

Anem'ochord.  (Fr.  an/mocorde.)  A 
keyboard  windinstr.  with  strings,  in- 
vented by  J.  J.  Schnell,  of  Paris,  in 
1789,  as  an  attempt  to  imitate  the  tone 
of  the  .Eolian  harp  by  means  of  small 
bellows  forcing  a  current  of  air  against 
the  strings :  a  pneumatic  harpsichord. 
— The  piano  ^olienne  of  Henri  Hers 
(1S51)  was  a  similar  instr. — (Also 
Anim'ocorde.) 

Ane'sis  (Gk.)  The  passage  from  a  high 
tone  to  one  lower  in  pitch;  also,  the  tun- 
ing of  strings  to  a  lower  pitch. — Opp. 
to  epit'asis.    [Stainer  AND  BARRETT.] 


ANFANG— ANTHEM. 


Vom  A., 


« 


/ 


An'fang  (Ger.)     Beg^inning 
same  as  Da  capo. 

An'geben  (Ger.)  To  sound,  to  strike. .  . 
Den  Ton  a.,  to  give  the  pitch  (as  for  an 
orchestra). 

Angelic  hymn.  The  hymn  sung  by  the 
angels  upon  the  announcement  of 
Christ's  birth  ;  sung  in  both  the  East- 
ern and  Western  Churches,  extended  in 
the  latter  to  the  "  Gloria  in  excelsis  ;  " 
also  in  the  Anglican  and  Episcopal 
Churches,  as  a  song  of  thanksgiving 
after  communion. 

Ange'Hca  (Lat.,  "  angelic")   See  Vox  a. 

Angelique'.  (Fr.  angdique^  A  kev- 
board  instr.  having  17  strings  tuned  in 
chromatic  order  ;  inv.  early  in  the  i"th 
century. — Also,  a  kind  of  guitar. 

Angelophone.  An  earlier  name  for  the 
harmonium  or  parlor-organ. 

An'gemessen  (Ger.)  Suitable,  appro- 
priate. 

Anglaise  (Fr.)  The  English  country- 
dance  {contreJanse),  of  lively  character, 
sometimes  in  2-4,  at  others  in  3-4  or 
3-8  time.  It  closely  resembles  the 
Ecossaise,  and  most  probably  took  its 
origin  from  the  older  form  of  the 
French  Rigaudon.     [Grove.] 

Angosciosamen'te  )  (It.)  Expressive  of 

Angoscio'so  )      anguish,  agony. 

AngstTich  (Ger.)  Fearfully  (It.  tirni da- 
men'  te,  wrongly  tramiJametite). 

An'hang   (Ger.)     Appendix  ;    coda,  co- 
detta. 
\     A'nima  (It.)     i.    Spirit;    con   a.,    with 

spirit,  animation. — 2.  Soundpost. 
(v'Animan'do  (It.)     With  growing  anima- 
tion ;  livelier.  .  .y^/////'/a'A',    in    an    ani- 
mated, spirited  style. 

Animocor'de  (It.)     See  Anemochord. 

Animo'so  (It.)  Animated,  spirited. . . 
A  nimosis'simo,  animosissi>?iamett'te, 
with  the  utmost  animation,  spirit,  bold- 
ness. 

An'mut(h)  (Ger.)  Grace,  sweetness, 
charm,  sviA-viiy..  .An' nut t{h)ig,  grace- 
fully, etc. 

Anom'aly.  The  slight  deviation  from 
the  exact  pitch  caused  by  tempering 
intervals  on  fixed-tone  instr. s  ;  -hence, 
an  anomalous  chord  is  one  containing 
an  interval  rendered,  by  tempering,  ex- 
tremely sharp  or  flat. 

Anonser  (Fr.)     To  perform  in  a  hesitat- 


ing, stumbling  manner  ;  to  read  music 
haltingly. 

An'satz  (Ger.)  i.  Lip,  embouchure  (in 
playing  wind-instr.s). — 2.  The  method 
of  attacking  a  vocal  phrase. 

An'schlag  (Ger.)  I.  Touch  (on  a  key- 
board instr.)— 2.  A  kind  of  double  ap- 
poggiatura : 

written  :  played  : 


^S 


An'schwellen  (Ger.)  To  increase  in 
loudness,  swell. 

Ansiosamen'te  (It.)  In  a  style  expres- 
sive of  anxiety  or  hesitation. 

An'sprache  (Ger.)  The  "speaking" 
of  an  organ-pipe,  wind-instr. ,  string, 
etc.  .  .An'sprechen,  to  speak. 

An'stimmen  (Ger.)  To  intone,  strike 
up. 

Answer.  (Lat.  co'mes ;  Ger.  Gefahr'te, 
Ant'ivort ;  Fr.  r/ponse,  r^plique  ;  It. 
ripo'sta,  conseguen'te.)  In  a  fugue, 
the  taking-up  of  the  subject,  proposed 
by  the  first  part,  by  the  second  part,  at 
a  different  pitch,     (See  Antecedent.) 

Antece'dent,  (Ger,  Filh'rer;  Fr.  theme ; 
It.  aniecedeti'te,  propo'sta,  gtii'da.) 
The  theme  or  subject  of  a  fugue  or 
canon,  as  proposed  by  the  first  part. — 
Also,  any  theme  or  motive  proposed  for 
imitation,  or  imitated  later, 

Antelu'dium  (Lat.)  Prelude,  introduc- 
tion. 

Anthem.  A  piece  of  sacred  music  usual- 
ly founded  on  biblical  words,  with  or 
without  instrumental  accomp.,  and  of 
various  forms  : — (i)  Anthetns  for  double 
choir,  the  choirs  frequently  answering 
each  other.  .  .(2)  Fullantheyns,  consist- 
ing wholly  of  chorus,  accompanied  or  not 
. .  .(3)  Full  anthems  with  verses,  certain 
parts  of  which  are  sung  by  solo  voices, 
although  beginning  and  close  are  cho- 
ruses (  Tutti),  and  the  chorus  predomi- 
nates throughout.  .  .(4)  Verse  anthems, 
in  which  the  verses  (soli,  duets,  trios, 
quartets)  predominate  over  the  cho- 
ruses. .  .(5)  Solo  anthems,  in  which  a 
solo  part  predominates,  though  the 
chorus  always  concludes  them... (6) 
Instrumental  anthems,  those  accom- 
panied by  instr.s  other  than  the  organ  ; 
— formerly  so  called. — The  anthem,  an 
integral  part  of  the  Anglican  church- 
service,  is  essentially  an  English  pro- 


t6 


ANTViOi-OGIUM— APOLLO, 


duct,  a  motet  developed  on  the  lines  of 
vocal  variety  and  instrumental  accomp., 
approximating  to  the  Ger.  KaiitaU, 
Antholo'gium  (I.at.)  The  book  or  col- 
lection of  the  hymns,  etc.,  of  the  East- 
ern Church. 

Antibac'chius  {Antibacchy).  A  metrical 
foot  of  3  syllables,  2  long  and  I  short, 
with  the  ictus  on  the  first  (— ^  —  w). 

Anticipation,  (Ger,  A ntizipation',  Vor- 
aus'7iahine ;  Fr.  anticipation ;  It. 
a7tticipazio'iie.)  The  advancing  of  one 
or  more  of  the  parts  constituting  a 
harmony  before  the  rest,  which  part 
or  parts  would,  if  all  the  parts  pro- 
gressed simultaneously,  enter  later : 
I 


Anti'co  (It.)  Antique,  ancient, .  .A  It  an- 
tico,  in  the  ancient  style, 

Antienne  (Fr.)    Antiphon, 

An'tiphon,  or  An'tiphone,  (Gk.  anti'- 
phona,  aiiti'plionon  ;  Ger.  Antiphottie' ; 
Fr.  antienne ;  It.  anti'fona.)  Origin- 
ally, a  responsive  system  of  singing  by 
two  choirs  (or  a  divided  choir),  one  of 
the  earliest  features  in  the  Catholic  ser- 
vice of  song  ;  hence  applied  to  respon- 
sive or  alternate  singing,  chanting,  or 
intonation  in  general,  as  practised  in 
the  Greek,  Roman,  Anglican,  and 
Lutheran  churches. .  .Also,  "a  short 
sentence,  generally  from  Holy  Scrip- 
ture, sung  before  and  after  the  Psalms 
for  the  day,  or  the  Canticles,  selected 
for  its  appropriateness  to  the  church 
season  in  which  it  is  sung  "  [Stainer 
AND  Barrett], 

Antiph'onal,  i,  A  book  or  collection 
of  antiphons  or  anthems. — 2.  (adj.)  In 
the  style  of  an  antiphon,  responsive, 
alternating. 

Antiph'onary,  (I.at.  antiplwna'rium ; 
Ger.  Antiphonar' ;  Fr.  antiphonaire ; 
It.  anti/ona'rio.)  Properly,  a  collec- 
tion of  antiphons,  but  extended  to  in- 
clude the  responsories,  etc.,  sung  at 
ecclesiastical  celebrations. — The  origi- 
nal collections  embraced  all  the  anti- 


phonal  songs  both  in  the  mass  and  the 
offices  of  the  Latin  Church  ;  but  now, 
by  long-established  custom,  a  separate 
book  called  the  (jradual  contains  the 
liturgical  antiphons  (those  proper  to  the 
mass) ;  whereas  the  responsories  of  the 
office,  formerly  relegated  to  the  Re- 
sponsorial,  now  form  the  Antiphonary, 
together  with  the  antiphons  proper  (i.e. 
the  antiphons  associated  with  tht 
psalms  of  the  office).  (Also  Aniiph'- 
onal,  Antiph'oner.) 

Antiph'onel.  The  planchette-mechan- 
ism  devised  by  Alexandre  Debain,  of 
Paris,  when  attached  to  a  pfte.,  organ, 
or  harmonium  ;  hence  Antiplnmel-Iiar- 
maniuni,  Orgiw-aniiphonel,  etc. 

Anti'phonon  (Gk.)    Antiphon,  anthem. 

Antiph'ony.  Responsive  singing  by 
two  choirs  (or  divided  choir)  of  alternate 
verses  of  a  psalm  or  anthem  ;  opp.  to 
responsorial  singing,  and  also  to  homo- 
phony  (see  Homophonic  l). 

An'tispast.  A  metrical  foot  of  four 
syllables,  the  first  and  last  being  short 
and    the    two     in     the     middle    long 

Antis'trophe.     See  Strophe. 
Ant'wort  (Ger.)     Answer. 
An'wachsend  (Ger.)  Same  as  c7-escendo. 
Aoli'ne,  etc.     (Ger.)     See  Molina. 
A'olsharfe  (Ger.)     yEolian  harp, 

A'olsklavier  (Ger.)  "/Eolian  pfte. ;"  a 
keyboard  instr.  invented  about  1825  by 
Schortmann  of  Buttelstedt,  resembling 
the  Physharmonica,  but  having,  as 
tone-producing  bodies,  wooden  wands 
instead  of  steel  bars. 

Aper'to  (It.,  "open.")  "  Take  the  loud 
pedal"  (in  pfte. -music). — Clear,  dis- 
tinct ;  broad,  ample  ;  Allegro  aperto, 
an  allegro  with  broad,  clear  phrasing. 

Aper'tus  (Lat.)  Open  ;  said  of  organ- 
pipes, 

Ap'felregal  (Ger.)  An  obsolete  reed- 
stop  in  the  organ,  the  narrow  pipes  of 
which  were  furnished  at  the  top  with 
hollow  perforated  globes  or  buttons 
(hence  also  called  Knopf'regal). 

Aplomb  (Fr.)  Coolness,  self-possession, 
steadiness. 

Apoggiatura,  Apogiatura.  Occasion- 
al spellings  of  Appoggiatiira  (Fr,  ap- 
pogiatiire). 

Apollo.     (Fr.    Apollon.)     A   large   lute 


APOLLO-LYRA— APPOGGIA  rURA. 


(or  theorbo)  having  20  single  strings, 
invented  in  1678  by  Prompt  of  Paris. 

Apollo-Lyra.     See  Psalmmclodicon. 

Apollonicon.  An  instr.  finished  in  1817 
by  Fliglit  and  Robson  of  London.  It 
was  a  combined  organ  and  orchestrion, 
containing  about  1900  pipes  in  45 
stops,  with  5  manuals  played  on  by 
different  performers,  and  kettledrums 
operated  by  a  special  mechanism,  so 
that  a  full  orchestral  effect  was  obtain- 
able ;  it  was  likewise  provided  with 
various  barrels  actuated  by  machinery, 
for  the  automatic  performance  of  sever- 
al extended  compositions.  It  was  taken 
to  pieces  in  1840. 

Apollonion.  An  instr.  consisting  of  a 
pfte.  with  double  keyboard,  combined 
with  an  organ  flue-work  containing 
pipes  of  2,  4,  and  8-foot  pitch,  together 
with  an  automatic  player  the  size  of  a 
boy  ;  inv.  by  J.  H.  Voller  of  Angers- 
bach  early  in  the  19th  century. 

Apos'trophe  (').  Often  employed  as  a 
breathing-mark. 

Apo'tome  (Gk.)  In  the  Pythagorean 
system,  the  chromatic  semitone — 2048: 
2187  ;  the  limma,  or  diatonic  semitone, 
therefore  being  243:256  (|4|  X  |tIt 
=  f  =  the  greater  whole  tone).  This 
chromatic  semitone  (obtained  by  sub- 
tracting 2  whole  tones  8:9  from  a  per- 
fect fourth  3:4)  was  therefore  a  wider 
interval  than  the  diatonic  ;  whereas  our 
diatonic  semitone  is  wider  than  the 
chromatic. 

Appassiona'to,-a  (It.)  Impassioned, 
with  passion. .  .  Appassionamen' to,  pas- 
sion, ardor,  deep  emotion. .  ..-^//ajj/c- 
nalarnen'te,  passionately,  ardently. 

Appel  (Fr.),  Appell'  (Ger.)  Assembly  ; 
signal  to  troops  to  fall  in. 

Appena'to  (It.)  Distressed  ;  in  a  style 
expressive  of  distress  or  suffering. 

Applica'tio  (It.)     Fingering. 

Applikatur'  (Ger.)  Fingering  (usually 
Fing'ersatz). 

Appoggian'do  (It.,  "leaning  on,  sup- 
ported.") Said  of  a  tone  (note)  gliding 
over  to  the  next  without  a  break,  as  in 
appoggiaturas  and  the  portamento. 
(Also  Appoggia'lo.) 

Appoggiatu'ra  (It.;  Fr.  appogiaiure ; 
Ger.  Vor'schlag,  Nach'schlag.')  i.  The 
accented  appoggiatura  (Ger.  VorscJdag) 
is  a  grace-note  preceding  its  main  note 
(melody-note),    and   taking  the   accent 


and  part  of  the  time-value  of  the  latter, 
(a)  The  lo)ig  appoggiatui'a,  now  obso- 
lete, often  occurs  in  earlier  music  ;  it 
was,  in  point  of  fact,  a  suspension 
written  as  a  small  note  in  order  to  evade, 
as  it  were,  the  rule  against  the  entrance 
of  unprepared  dissonances.  The  dura- 
tion of  the  small  note  properly  corre- 
sponds to  its  time-value  if  written  as  a 
large  note  ;  e.  g. 
written  : 

-I r^ 1-* i-f^ 


though  cases  may  occur  in  which  the 
appoggiatura  takes  more  than  its  ap- 
parent value : 


5^S 


^^ 


performed  : 


or  (ace. to  Turk): 


(b)  The  short  appoggiatura  is  properly 
written  as  a  small  eighth-note  or  l6th- 
note  with  a  slanting  stroke  through  the 
hook  ;  the  general  rule  for  its  execution 
is,  to  perform  it  very  swiftly,  giving  it 
the  accent  of  its  principal  note,  and  a 
portion  of  the  latter's  time-value  differ- 
ing according  to  the  speed  of  the  move- 
ment somewhat  as  follows  : 
written  : 

Adagio.         Andante.         Allegro.         Presto. 
R     3  \       -i  J!       3 


(c)  The  double  appoggiatura  contains  2 
or  more  small  grace-notes  (commonly 
written  as  i6th-notes)  before  a  principal 
note  ;  it  is  performed  rapidly,  its  dura- 
tion subtracted  from  the  time-value  of 
the  principal  note,  with  the  accent  on 
the  first  small  note  (compare  Anschlag, 
Slide). — 2.  The  unaccented  appoggia- 
tura (Ger.  A'ac/isc/ilagYis  a  rapid  single 
or  double  gra.ce-note /ol/owing  a  princi« 
pal  note,  from  the  time-value  of  whici 


I8 


APPREST  ARE— ARIOSO. 


its   duration    must   be   subtracted,  and 
with  which  it  is  connected  by  a  slur : 
written  : 


Appresta're  (It.)  To  set  up  and  finish 
an  instr. 

Appretie'ren  (Ger.)  Same  as  Appre- 
siare..  .Appretiir' ,  the  proper  adjust- 
ment of  the  parts  of  an  instr. 

Aquivo'ken  (Ger.,  pi.)  Meistersinger 
melodies  bearing  like  names. 

Arabesque.  (Ger.  Arabes'ke.)  i.  An 
occasional  title  for  pfte. -pieces  re- 
sembling a  rondo  in  form. — 2.  Arabes- 
ken  (Ger.  pi.)  Ornamental  passages 
accompanying  or  varying  a  theme. 

Arbi'trio  (It.)  Free  will,  absolute  power; 
a  suo  a., at  pleasure (equiv.  to  apiacerc). 

Arca'to  (It.)  Bowed,  played  with  the  bow. 

Archeggia're  (It.)  To  play  with  the  bow. 

Archet  (Fr.)     Bow. 

Ar'chi-[ar'ke](Lat.),  and  Ar'ci-[ar'-tche] 
(It.)  (Engl.  Arch-,  Ger.  Erz-)  A 
prefix  signifying  "chief,  preeminent," 
formerly  applied  to  names  of  instr. s  in 
the  sense  of  "  largest  "  (of  the  family 
in  question),  and  to  official  titles  in  the 
sense  of  "head." — E.  g.,  Archchanter 
(Fr.  archichantre),  precentor ;  Arch- 
lute  (It.  arciliu'to,  Fr.  archiluth,  Ger. 
Erz'laute),  a  variety  of  the  bass  lute  ; 
Arcicetn'balo  (It.;  Fr.  archicembalo, 
Ger.  Archicym'bal),  a  keyboard  stringed 
instr.  inv.  by  Niccolo  Vincentino  (i6th 
century),  with  6  keyboards,  and  keys 
and  strings  for  all  the  tones  of  the  three 
ancient  Greek  modes  (diatonic,  chro- 
matic, and  enharmonic);  Arcivio'la  di 
lira  (It.),  same  as  JJrone. 

Ar'chi  (It.,  pi.  of  Arco.)  Bows;  gli 
archi,  "the  bows,"  i.  e.  bow-instr.s  in 
the  orchestra  ;  Engl,  equivalent,  "the 
strings." 

^Ar'co  (It  )  Bow  ;  a  piin'ta  d'arco,  or 
colla  punta  dell'arco,  with  the  point  of 
the  bow  ;  coll' arco,  with  the  bow,  i.  e. 
resume  the  bow  after  a  pizzicato  pas- 
sage..  .Arco  in  git*,  down-bow  ;  a.  in 
tu,  up-bow. 
Arden'te  (It.)  Ardent,  fiery,  passionate. 


Arditez'za,  con  (It.)  Boldly,  spirited- 
ly. .  .Ardi'io,  bold,  spirited. 

Aretin'ian  syllables.  (Ger.  areti'nische 
Sil'bcn.)  The  syllables  ut,  re,  mi,  fa, 
sol,  la,  first  used  as  solmisation-sylla- 
bles  by  Guido  d'Arezzo. 

A'ria  (It.;  Ger.  A'rie.)  Primarily,  an 
air,  or  rhythmic  melody. — As  a  technical 
term,  an  aria  is  an  extended  lyrical 
vocal  solo  in  various  forms,  with  in- 
strumental accompaniment.  With  the 
rise  of  homophonic  music  in  the  opera 
and  oratorio,  the  aria  developed,  from 
a  mere  plain-song  melody  with  basso 
coiitinuo,  into  the  aria  gran'de  (the 
grand  or  da-capo  aria  in  3  divisions 
preceded  by  an  instrumental  ritornello 
containing  the  principal  melody  ;  divi- 
sion I  being  an  elaborate  development 
of  a  theme  with  frequent  repetitions  of 
the  words  ;  II,  a  more  tranquil  and 
richly  harmonized  section  ;  followed  by 
III,  the  repetition  da  capo  of  I,  with 
still  more  florid  ornamentation);  the 
aria  di  bravu'ra,  (similar  to  the  fore- 
going, but  overloaded  with  difficult 
passages  and  coloraturas  for  showing 
off  the  singer's  skill);  the  aria  da  chie'- 
sa  (church-aria,  differing  from  the  sa- 
cred song  chiefly  in  its  greater  breadth, 
and  in  being  accompanied  by  full  or- 
chestra); and  the  aria  da  concer'io 
(concert-aria,  differing  from  the  others, 
which  are  portions  of  operas,  oratorios 
etc.,  in  being  an  independent  composi- 
tion intended  for  the  concert-hall). — 
The  modern  aria  is  freer  in  form  than 
the  aria  grande  of  the  i8th  century, 
the  ritornello  often  being  omitted, 
greater  variety  given  to  the  da  capo, 
and  the  thematic  construction  made  to 
follow  the  sense  of  the  words,  so  that  it 
sometimes  assumes  the  form  of  a  rondo, 
or  consists  of  2  slow  divisions  separated 
by  an  allegro  movement. .  .^fr /a  par- 
Ian' te  (also  ario'so),  a  vocal  style  com- 
bining the  melody  of  an  aria  with  the 
distinct  enunciation  of  a  recitative,  the 
vowels  being  "  thrown  forward." 
— .Smaller  arias,  nearly  in  song-form 
and  with  slighter  accompaniments,  are 
called  ariettas  or  cavatinas. 

Ariet'ta  (It.)  A  small  aria.    (See  Aria.) 

Ariette  (Fr.)  Same  as  aria  grande,  the 
original  signification  being  completely 
reversed. 

Ario'so  (It.)  In  vocal  music,  a  style  in- 
termediate between  aria  and  recitative 
(see  Aria parlante);  also,  a  short  melo- 


ARMER   LA   CLEF— ASPIRATION. 


19 


C 


dious  strain  interrupting  or  terminating 
a  recitative. — Also  signifies  an  effective 
dramatic  style  suitable  for  the  aria 
graiide. —  In  instrumental  music,  same 
as  canlabilc'. 

Armer  la  clef  (Fr.)     See  Clef. 

Arm'geige  ((ler.)      Viola  da  braccio. 

Armoni'a  (It.)  W^xmony  .  .Ai-monia 
niilita'rc,  military  band. 

Armo'nica  (It.)  i.  Harmonic. — 2.  Har- 
monica. 

Armonie  (Fr  )  Probably  same  as  Viellc. 

Armoniosamen'te  (It.)  Harmoniously; 
armonio'so,  harmonious. 

Armure  (Fr.)  i  Mechanism,  action. — 2- 
Key-signature. 

Ar'pa  (It.)  Harp.  ..^.  dop'pia,  see 
Spitzharfe. 

Arpanet'ta,  Arpanel'la  (It.)  A  small 
harp.     (See  Spitzharfe.) 

Arpege  (Fr.)  Arpeggio. .  .  Arpl-i^enient^ 
pfciying  arpeggio,  breaking  a  chord.  .  . 
Arpeger,  to  arpeggio. 

Arpeggian'do  (It.)  Playing  arpeggio, 
in  harp-style,  or  in  broken  chords  ; 
from  arpeggia'rg,  to  play  on  the  harp.  .  . 
Arpeggia'to,  (a)  arpeggiated,  arpeg- 
gio'd  ;  (b)  as  a  noun,  same  as  Arpeggio. 

Arpeggiatu'ra  (It.)  A  series  of  arpeg- 
gios. 

Arpeg'gio  (It,,  pi.  arpeg'gi,  Engl.  pi. 
arpeg'gios.')  [Lit."  harping."]  Playing 
the  tones  of  a  chord  in  rapid  and  even 
succession  ;  playing  broken  chords. 
Hence,  a  chord  so  played,  or  broken  ; 
a  broken  or  spread  chord,  or  chord - 
passage.     The  modern  sign  for  the  a 

^  calls      for 

1:1^— J§rz  the  follow- 
Itnj— 'p —  ing  e.xecu-  bSsi^J  j^^^j^jlgrj 

i.  e.  the  first  arpeggio-note  falls  on  the 
accent;  this  is  the  rule  for  the  accent, 
tho'   there   are   occasional    exceptions. 


■2 ) 


N.B.  —  Pfte.-ar- 
peggios  are  writ- 
ten in  2  ways : 
(i)  indicates  that 
the  arpeggio  is 
simultaneous  in 
both  hands ;  (2), 
that  all  the  notes  are  to  be  played  in 
succession  from  lowest  to  highest. —  In 
earlier  music  (Bach,  Handel)  the  same 
sign  calls  for  a  more  or  less  free  spread- 
ing of  the  chords,  generally  according 
to  a  preceding  pattern-chord  in  which 


the  a.  is  written  out  in  full.      Obsolete 
or  unusual  signs  are  as  follows  : 

a.         b.  c.       d.         e.         f. 

\ —J  .^-1 --I 

/2a t^  \f-^         pg t"g1 VTSj 


a,  b,  c,  d  are  equivalent  to  the  modern 
sign  \  f,  f.,  g  call  for  a  reversed  (de- 
scending) arpeggio  ;  h  means  either  an 
ascending  arpeggio,  or  a  combined  a, 
and  acciaccatura ;  i  and  k  signify  a 
spreading  in  eighth-notes  ;  the  appog- 
giaturas  at  /  and  m  delay  the  perform- 
ance of  the  notes  to  which  they  are 
attached  by  the  time  required  for  play- 
ing a  long  or  short  appogg.  respectively. 
Arpeggio'ne.  An  instr.  like  a  small 
'cello,  with  fretted  fingerboard  and  6 
„  —     ;  inv. 

tuned  \~^-—-^^^ ^y  ^ 

Stauffer,  of  Vienna. 

Arpicor'do  (It.)     Harpsichord. 

Arpo'ne  (It.)  An  instr.  played  like  the 
harp,  but  having  the  strings  adjusted 
horizontally  instead  of  vertically;  inv. 
by  Barbieri  of  Palermo,  towards  the  end 
of  the  18th  century. 

Arrangement.  (Ger.  and  Fr.  ditto;  It. 
riduzio'ne).  The  adaptation  of  a  com- 
position for  performance  on  an  instr., 
or  by  any  vocal  or  instrumental  com- 
bination, for  which  it  was  not  originally 
intended;  hence,  the  composition  as  so 
adapted  or  arranged. 

Arranger  (Fr.),  Arrangie'ren  (Cer.)  To 
arrange.     (See  Arraugemeiit.) 

Ar'sis  (Gk.)     Up-beat. 

Art  (Ger.)     Sort,  kind ;  manner,  style. 

Articola're  (It. ;  Fr.  articuler ;  Ger. 
arlikiilie'ren.)  To  articulate,  utter  ^\s- 
\\x\Q.\.\y.  ..Articola' to,  articulated.  .  .Ar- 
ticolazio'ne,  articulation. 

Ar'tig(lich)  (Ger.)  Neatly,  prettily, 
gracefully. 

As  (Ger.)    A{7. — As'as,  or  As'es,  jWy'r). 

Aspira're  (It.)  To  aspirate.  Also,  in 
singing,  to  quaver  a  vowel  by  audibly 
interpolating  successive  /I's.  Also,  to 
take  breath. 

Aspiration  ( Fr.)  An  obsolete  grace 
(comp.  Grace). 


20 


ASPREZZA— AUTHENTIC. 


Asprez'za  (It.)  Harshness,  roughness; 
bitterness. 
f)  Assa'i  (It.)  Very  ;  used  to  intensify  a 
tempo-mark,  as  allegro  assai,  very 
rapid  ;  it  has  less  intensifying  force 
than  inolto. 

Assembly.  A  signal  by  drum  or  bugle 
for  soldiers  to  rally  and  fall  in. 

Assez  (Fr.)     Enough  ;  rather. 

Assolu'to  (It.)  Absolute,  positive  ; prima 
ttomo  assoliito,  a  male  singer  for  lead- 
ing roles. 

As'sonance.  (Ger.  Jssonanz';  Fr.  as- 
sonance; It.  asso7ian'za.)  Agreement 
or  resemblance  in  sound. 

A'them  (Ger.)  Br^dith...  .A' iheinlos, 
breathless(ly). 

Attac'ca  (It.)  Attack  or  begin  what  fol- 
lows without  pausing,  or  with  a  very 
short  pause  ;  a.  sii'biio  (or  attaca' ie 
subiio),  attack  immediately. 

Attacca're  (It.),  Attaquer  (Fr.)  To 
attack,  or  begin,  at  once. 

Attac'co  (It.),  Attaque  (Fr.)  A  mo- 
tive in  fugal  imitation  ;  formerly,  a  very 
short  fugue-theme. 

Attache  du  cordier  (Fr.)     Loop. 

Attack.  The  act  or  style  of  beginning 
a  phrase,  passage,  or  piece  ;  said  both 
of  vocalists  or  instrumentalists,  either 
in  solo  or  ensemble. 

Attendant  keys  of  a  given  key  are  its 
relative  major  or  minor,  together  with 
the  keys  of  the  dominant  and  subdomi- 
nant  and  their  relative  major  or  minor 
keys.     (Comp.  Phone,  §4.) 

At'to  (It.)    Act  of  a  drama, 

Atto're,  (Attri'ce)  (It.)  Actor  (act- 
ress). 

Au  (Fr.)     To  the,  in  the,  etc. 

Aubade  (Fr.)  i.  Morning-music,  gen- 
erally addressed  to  some  particular  per- 
son ;  opp.  to  Serenade; — specifically,  a 
morning-concert  by  a  military  band.—  2. 
Occasional  title  for  short  instrumental 
pieces  in  lyric  style. — 3.  A  calli- 
thumpian  concert  (ironical). 

Audace  (Fr.)     Audacious,  bold. 

Auf'fassung  (Ger.)  Reading  or  con- 
ception (of  a  work). 

Auf'fiihrung  (Ger.)     Performance. 

Auf'geregt  (Ger.)  Agitated(ly),  e.xcit- 
ed(ly). 

Auf'geweckt  (Ger.)  Lively,  animat- 
ed(ly),  brisk(ly). 


Auf'halten  (Ger.)  To  suspend. .  .^?</''- 
halittng,  suspension  (usually  Vot'hali). 

Auf'losen  (Ger.)  To  resolve. .  .^w/'- 
liisung,  resolution  ;  also,  the  breaking 
of  a  chord  ;  also,  the  solution  of  an 
enigmatical  canon..  .Auflosungszeu 
chen,  the  natural  (Q). 

Auf  satz  (Ger.)  Tube  (of  a  reed-pipe  in 
the  organ). 

Auf'schlag  (Ger.)  Up-beat. .  .yiw/'- 
schlagende  Ziing'e,  beating  reed. 

Auf  schnitt  (Ger.)  Mouth  (of  an  organ- 
pipe), 

Auf'strich  (Ger.)     Up-bow. 

Auf  takt  (Ger.)  Up-beat,  anacrusis  ;  a 
fractional  measure  beginning  a  move- 
ment, piece,  or  theme  (in  this  sense 
often  used  by  English  writers  without 
capital  [^ciiiftakt\). 

Auftritt  (Ger.)     Scene. 

Aufzug  (Ger.,  lit.  "  raising  [of  the  cur- 
tain]".)    An  act  of  a  drama.  • 

Augmentation.  (Ger.  Vergrd' sserung, 
Verlang'erung.')  I.  Doubling  or  in- 
creasing the  time-value  of  the  notes  of 
a  theme  or  motive  in  imitative  counter- 
point.— 2.  See  Notation,  §3. — Aug- 
mented  intervals,  see  Interval. 

Augmenter  (Fr.)  To  increase  (in  loud- 
ness) ;  en  augmenta nt^=cx&scendo. 

Aule'tes  (Gk.)  Flute-player. .  .^«/)7j, 
flute. 

Aumentan'do  (It.)  Crescendo...  Au- 
menta'io,  augmented. 

Aus'arbeitung  (Ger.)  Working-out, 
development. 

Aus'druck  (Ger.)  Expression. .  .^w/- 
drucksvoll,  expressively. 

Aus'fiihrung  (Ger.)  E.xecution,  perform, 
ance  ;  exposition. 

Aus'halten  (Ger.)  To  sustain;  sustain  ! 
.  .Atts'haltung,  sustaining... .<4 ^/^a/- 
tiingszeichen,  see  Fermate. 

Aus'losung  (Ger.)  Hopper,  grasshopper, 

escapement. 
Au'ssere  Stim'men  (Ger.)  Outer  parts. 

Au'sserst  (Ger.)     Extreme(ly). 

Aus'stattung  (Ger.)  Mounting  (of  an 
opera,  etc.) 

Aus'weichung  (Ger.)  Modulation, 
transition. 

Authentic.  (Ger.  authen' tisch ;  Fr. 
authentique ;  It.  auten'tico.)  Within 
the  compass  of  an  octave  above  the 
Wcynote. .  .^«.   cadence,  mode,  see    Ca- 


AUTO-HARP— BAGPIPE. 


21 


dence.  Mode. .  .An.  melody,  one  whose 
range  extends  through  or  nearly  through 
the  octave-scale  above  its  tonic  or  final  ; 
opp.  to  pla;^al. .  .All.  part  of  the  scale, 
that  lying  between  a  given  keynote  and 
its  higher  dominant,  the  part  between 
the  keynote  and  lower  dominant  being 
called  plagal. 

Auto-harp,  (Ger.  Akkord'zil/ier.)  A 
zither  without  fingerboard  or  accom- 
paniment-strings, all  the  strings  being 
plucked  or  swept  by  the  plectrum  and 
stopped  by  a  series  of  from  4  to  8  com- 
pound dampers  (called  "manuals"  or 
"  pedals  "),  each  of  which  when  pressed 
down  damps  all  the  strings  except  those 
forming  one  particular  chord  ;  the  plec- 
trum, rasping  across  all  the  strings, 
sounds  this  cord  as  an  arpeggio  ;  the 
melody  is  brought  out  by  special  stress 
on  the  highest  (or  any  other)  tone  of  the 
chord. 

Au'tophon.  A  form  of  barrel-organ, 
the  tunes  played   being  determined  by 

fierforations  in  a  sheet  of  mill-board 
heavy  pasteboard]  cut  to  correspond 
with  the  desired  notes.     (Knight.) 

Auxiliary  note.  (Ger.  Hilfs'note.)  A 
note  not  essential  to  the  harmony  or 
melody ;  particularly,  a  grace-note  or 
added  note  a  second  above  or  below  a 
given  T\\<t\o<\y-vi.oX^. .  .Auxiliary  scales, 
those  of  attendant  keys. 

A've  Mari'a  (Lat.)  "  Ilail,  Mary!"; 
the  salutation  of  the  angel  Gabriel  at 
the  annunciation ;  followed  by  the 
words  of  Elizabeth  to  Mary  (Luke  I, 
42),  it  has  been  a  favorite  subject  of 
sacred  composition  since  the  7th  cen- 
tury ;  concluded  by  a  hymn  of  praise 
or  prayer  to  the  Virgin. 

A've  ma'ris  stel'la  (Lat.,  "hail,  star 
of  ocean  ! ")  Hymn  of  the  Roman 
Catholic  Church. 

Avec  (Fr.)    With. 

Avici'nium  (Lat.)  An  organ-stop  imi- 
tating the  warbling  of  birds. 

Avoided  cadence.     See  Cadence. 

Azio'ne  sa'cra  (It.,  "sacred  drama"  ; 
equiv.  to  tlie  Spanish  "auto  sacra- 
mentale  ".)     An  oratorio  or  passion. 

B. 

B.  (Ger.  ///  Fr.  and  It.  «.)  The  7th 
tone  and  degree  in  the  typical  diatonic 
scale  of  C-major.  .  .B  cancella'tuin,  the 
sharp  (jj),  formed  originally  by  crossing 


or  cancelling  the  sign  \t  for  B  rotun'- 
duin.  .  .B  quadra' ium,  Bfl.  .  .B  \%  also 
an  abbr.  for  Bass  or  Basso  {c.  B.=col 
Basso  ;  B.  C.=  basso  continuo). 

Baboracka,  Baborak.  Bohemian  danc- 
es with  changing  rhythms. 

Bac'chius  (Bacc/ty).  A  metrical  foot 
containing  i  short  and  2  long  syllables, 
with   the  ictus    on    the    first   long   one 

Baccioco'lo  (It.)  A  Tuscan  instr.  of 
the  guitar  family. 

Bachelor  of  Music.  (Lat.  baccalau'reus 
tnu'sicic.)  The  lower  of  the  2  musical 
degrees,  Doctor  of  Music  being  the 
higher. 

Back.  (Ger.  Boden;  Fr.  dos;  It.  sckietia.) 
The  lower  side  of  the  body  of  a  violin, 
etc. ;  opp.  to  Belly. 

Back-block.     Same  as  Wrest-block. 

Backfall,  i.  An  obsolete  melodic  or- 
nament in  lute  or  harpischord-music  ; 


written ; 


:;  played : 


(Also  comp.  Grace) — 2.  A  double 
lever  in  the  organ -action,  working  be- 
tween a  sticker  and  a  pull-down. 

Backturn.      See  Turn. 

Badinage  (Fr.)  Good-humored  raillery, 
banter. 

Bagana.  The  Abyssinian  lyre,  having 
10  strings  tuned  to  5  tones  and  their 
octaves. 

Bagatelle  (Fr.)     A  trifle. 

Bagpipe(s).  (Ger.  Du'delsack,  Sack'- 
pfeife;  Yx.cornemuse ;  \\..  cornamu' sa.") 
A  very  ancient  wind-instr.  of  Eastern 
origin,  known  to  the  Greeks  and  Ro- 
mans, in  great  vogue  throughout  Europe 
during  the  middle  ages,  and  still  popu- 
lar in  many  countries,  especially  Great 
Britain.  It  consists  of  a  leathern  bag, 
filled  with  wind  either  from  the  mouth 
or  from  a  small  bellows  worked  by  the 
player's  arm,  and  of  pipes  inserted  in 
and  receiving  wind  from  the  bag.  The 
commonest  form  has  4  pipes  ;  3  drones 
(single-reed  pipes  tuned  to  a  funda- 
mental tone,  its  fifth  and  its  octave,  and 
sounding  on  continuously),  and  I  vicl- 
ody-pipe,  the  chanter  (a  sort  of  shawm 
or  double-reed  pipe  with  from  6  to  8 
finger-holes  ;    compass   approximately : 


BAGUETTE— BANDOLA. 


Praetorius  enumerates  several  sizes 
used  in  the  17th  century  ;  the  "Grosser 
Bock"  (drone  in  contra- Cr  or  great  C), 
"  Schapc7-pfcif"  (drones  in  b\)  and  _/"'), 
"  JIumvielcIien"  (drones  f^-c^),  and 
"/)«,/<7"(^'b--^'b-^"-t?)- 

Baguette  (Fr.)     Drumstick  ;  fiddlestick. 

Baisser  (Fr.)   To  lower(as  a  tone  by  a  b). 

Bajadere.     See  Bayadere. 

Balala'ika  (also  Balaleika,  Balale'iga). 
A  rude  stringed  instr.  of  the  guitar 
family,  having  2,  3,  or  4  strings  tuned 
in  minor.  It  is  of  Russo-Tartar  origin, 
and  now  most  often  met  with  among 
the  Gypsies. 

Balancement  (Fr.)    See  Behung. 

Balance-rail.  A  strip  of  wood  running 
transversely  beneath  the  middle  of  the 
piano-keys,  which  are  balanced  upon 
it..  .Balatice swell-pedal,  see  Pedal. 

Balg  (Ger.)  ^&\\o\\'%.  .  .Bal'gentreter 
("  bellows-treader "),  calcant,  a  man 
employed  to  tread  or  stand  on  the  old- 
fashioned  German  organ-bellows  to  fill 
them  with  wind . . .  Balg' klavis,  see 
Clavis. . .  Balg''iuerk,  bellows. 

Barken  (Ger.)  I.  Bass-bar.— 2.  The 
thick  line  connecting  the  stems  of 
grouped  hooked  notes,  substituted  for 
the  hooks. 

Ballabi'le  (It.)  A  composition  intended 
for  a  dance -accomp. ;  any  piece  of  dance- 
music. 

Ballad.  (Ger.  and  Fr.  Balla'de ;  It. 
talla'ta.)  Originally,  a  song  intended 
for  a  dance-accomp. ;  hence,  the  air  of 
such  a  song.  In  modern  usage,  it  is  a 
simple  narrative  poem,  a  mixture  of  the 
epic  and  lyric,  generally  meant  to  be 
sung. — .\s  a  purely  musical  term,  it 
was  originally  applied  to  a  short,  simple 
vocal  melody,  set  to  one  or  more  stan- 
zas, and  with  a  slight  instrumental 
accomp. — In  an  extended  application,  it 
includes  instrumental  melodies  of  a 
similar  character ;  also  compositions  for 
single  instr. s,  for  orchestra,  etc.,  sup- 
posed to  embody  the  idea  of  a  narrative. 

Balla'denmassig(Ger.)    In  ballad-style. 

Ballad-opera.  An  opera  chiefly  com- 
posed of  ballads  and  folk-songs  (e.  g. 
Gay's  "Beggar's  Opera"). 

Balla'ta(lt.)  A  ^allad....4  ballata,  in 
ballad-style. 

Balleri'na  (It.)  A  female  ballet-dancer. 
(^    Bal'let.     (Ger.  Balled';  Fr.   ballet:  It.. 


hal'lo,  ballefto.)  I.  A  spectacular  dance, 
often  one  introduced  in  an  opera  or 
other  stage-piece. — 2.  An  independent 
pantomimic  representation,  accompan- 
ied by  music  and  dances  setting  forth 
the  thread  of  the  story. — 3.  A  compo- 
sition of  a  light  character,  but  somewhat 
in  the  madrigal  style,  frequently  with  a 
"fa  la"  burden  which  could  be  both 
sung  and  danced  to  ;  these  pieces  were 
commonly  called  "  Fa  las  "  [Grove]. — 
4.  The  corps  of  ballet-dancers  {corps  de 
ballet). 

Ballet'to  (It.)  I.  Ballet.— 2.  Title  em- 
ployed by  Bach  for  an  Allegretto  in 
common  time. 

Bal'lo  (It.)  A  dance;  a  hsW&K. . . .  Balli 
ingle' si,  English  dances ;  balli  ungar/si, 
Hungarian  dances. .  .Daballo,  in  dance- 
style,  light  and  spirited. 

Ballon'chio  (It.)  See  Faspy.  (Origin- 
ally, a  round  dance  of  the  Italian 
peasantry.) 

Ballonza're  (It.)  To  dance  wildly  and 
recklessly,  regardless  of  rule. 

Band.  i.  An  orchestra. — 2  (most  com- 
monly). A  company  of  musicians  play- 
ing martial  music  (brass-band,  military 
band). — 3.  A  company  of  musicians,  or 
section  of  the  orchestra,  playing  instr. s 
belonging  to  the  same  family  or  class 
(brass-band,  string-band,  wood-baud, 
wind-band).  .  .The  24  fiddlers  of 
Charles  II.  were  called  "the  king's 
private  band." 

Band  (Ger.)    A  volume. 

Ban'da  (It.)  The  brass  wind-instr.s, 
and  the  instr.s  of  percussion,  in  the 
Italian  opera-orchestra. — Also,  an  or- 
chestra appearing  on  the  stage. 

Bandalore,  Bandelore.     See  Bandore. 

Bar'de(Ger. ;  usually  Mtisik'-  or  Musi- 
ka>i'tcuba)ide.)  A  company  of  strolling 
musicians. — (Fr.)  In  earlier  usage,  the 
24  violins  at  the  royal  court  ("  lagrande 
bande  "). 

Band-master.  The  conductor  of  a  mili- 
tary hand. .  .Ba/tdsf/ian,  a  member  of 
such  a  band. 

Bando'la  (Span. ;  also  Baftdolon ,  Bandora, 
Bdnditni.)  Instr.s  of  the  lute  family, 
with  a  greater  or  smaller  number  of 
steel  or  gut  strings,  and  played  with  a. 
plectrum  ;  like  the  Pandora,  Pandura, 
Pandurina,  Mandora,  A/andola,  Man- 
doer,  Jifandura.  Mandiirchen,  all  es- 
sentially  identical  with  the   Mandolin 


BANDONION— BARRA. 


23 


still  in  vogue  (see  Mandolin  and  Lute). 
[RiEMANN.]     (Also  comp.  Cither.) 

Bando'nion.  A  kind  of  Concertina  with 
square  ends  (keyboards),  inv.  by  C.  F. 
Uhlig  of  Chemnitz,  about  1830,  and 
since  then  much  improved  and  enlarged. 
It  takes  its  name  from  Heinrich  Band 
of  Crefeld,  a  dealer  in  the  instr. — Comp. 
art.  Harmonicuni. 

Bandore.     See  Bandola  and  Cither. 

Bandur'ria  (Span.)  A  variety  of  guitar 
having  wire  strings  instead  of  gut. 

Banger.  The  banjo.  ("  The  Negroe- 
Banger  "  [Adair].) 

Bania,  Banja  (African.)  Parent  instr. 
of  the  Banjo.    (?) 

Banjo.  A  variety  of  guitar  ;  its  body  is 
formed  by  a  circular  hoop,  over  the 
upper  side  of  which  is  stretched  parch- 
ment or  skin  ;  it  has  a  long  neck  with 
or  without  frets,  and  from  5  to  9  strings, 
the  melody-string,  which  is  the  shortest 
and  played  with  the  thumb  of  the  right 
hand,  lying  outside  of  and  next  to  the 
lowest  bass  string.  The  other  strings 
are  plucked  or  struck  with  the  right 
hand,  and  all  are  stopped  with  the  left. 
It  is  variously  tuned,  the  5-stringed 
banjo  often  as  follows  : 


=i*: 


Ban'kelsanger  (Ger. ;  ' '  bench-singers, " 
from  their  mounting  on  benches,  the 
better  to  gain  a  hearing.)  Strolling 
singers  of  a  low  class,  who  frequent 
fairs  and  other  places  of  public  resort, 
and  recount,  partly  singing  and  partly 
speaking,  romantic  tales  taken  from 
history  or  adventure,  stirring  events  of 
the  day,  etc.,  usually  explanatory  of  a 
picture  which  they  display. 

Bar.  (Ger.  Takfstrich  ;  Yx.  barre ;  It. 
li'nea,  bar'ra,  sbar'ra.)  i.  A  vertical 
line  dividing  measures  on  the  staff,  and 
indicating  that  the  strong  beat  falls  on 
the  note  immediately  following. — 2. 
Hence,  the  popular  name  for '  'measure". 
. . .  Bar-line,  a  barbarism  evoked  by  the 
familiar  use  of  bar  for  measure. 

Bar  (Ger.)     Compare  Strophe  3. 

Bar'baro  (It.)     Equiv.  to  Feroce. 

Bar'biton,  Bar'bitos.  An  ancient 
Greek  variety  of  the  lyre. 

Barcarole'.  (Ger.  ditto  ;  Fr.  barcarolle  ; 
It.  barcaro'la,  barcaruo'la,  "boatman's 
song.")     I.  A  gondoliera  (song  of  the 


Venetian  gondoliers). — 2.  A  vocal  or 
instrumental  solo,  or  concerted  piece,  in 
imitation  of  the  Venetian  boat-songs, 
and  in  6-8  time  (though  Chopin's  for 
pfte.  is  in  12-8  time). 

Bard.  A  poet  and  singer  among  the 
ancient  Celtic  nations  ;  one  who  com- 
posed and  sang,  generally  to  the  harp, 
verses  celebrating  heroic  achievements. 
.  .In  earlier  Scotch  usage,  a  vagabond 
minstrel. 

Bardiet',  Bardit'  (Ger.)  [A  word  coined 
by  Klopstock,  who  derived  it  from  the 
"  barditus"  (for  baritus,  a  battle-song) 
of  Tacitus,  whence  the  erroneous  as- 
sumption that  the  ancient  Germans  had 
bards.]     A  bardic  song. 

Bardo'ne.  i  (It.)  A  barytone  2. — 3 
(Ger.)  Occasional  spelling  for  Bourdon 
(organ-stop);  also  Barduen. 

Bare  fifth.     See  Naked. 

Ba'rem  (Ger.)  Obs.  name  for  the  very 
soft-toned  organ-stop  StiU'gedackt  or 
Jl/usicir'gedackt. 

Bargaret,  Barginet.  Same  as  Bergeret. 

Baribas'so  (It.)  A  low  barj-tone  voice, 
a  bass-bar)'tone. 

Bariolage  (Fr.)  A  medley.— A  caden- 
za, or  series  of  cadenzas,  whose  appear- 
ance forms  a  design  upon  the  music- 
paper,  a  "waistcoat  pattern,"  as  it  is 
called  by  performers.  [Stainer  and 
Barrett.] 

Bariteno're  (It.)  A  low  tenor  voice,  a 
tenor-barytone  (second  tenor) 

Ba'riton  (Ger.),  Bariton  (Fr.),  Bari'- 
tono(It.)  Barytone.  [An  attempt  has 
been  made  to  confine  the  spelling  bari- 
totte  to  instruments,  and  barytone  to  the 
voice  ;  the  idea  is  not  yet  generally 
accepted.] 

Baroc'co  (It.;Ger. /^(Z;v<-/^'/Fr.  baroque.) 
Eccentric,  odd,  strange,  whimsical. 

Barox'yton  (Gk.,  "the  deep  and  high- 
toned.")     A  brass  wind-in- 
str.    of   broad, .scale,    inv.  ,  /p 


m 


i 


in  1853  by  Cerveny  of 
Koniggratz;  compass  from 
contra-T?  to  a"^  :  gwa 

Bar'pfeife  (Ger.,  also  Bar' pipe,  Barpyp; 
Dutch  Baar'pyp.)  A  reed-stop  in  old 
organs,  with  pipes  nearly  closed  by 
caps  of  a  peculiar  shape,  and  emitting 
a  humming,  "growling"  tone. 

Barquarde  (Fr.)     Obs.  for  Barcarolle. 

Bar'ra  (It.)     A  bar  (not  measure). 


BARRE— BASSE. 


Barre  (Fr.)  A  bar  (not  measure);  also 
barre  de  mestire. — Certain  abbrevia- 
tions are  also  termed  barns.— A\so,  the 
low  bridge  of  some  stringed  instr.s. . . 
B.  d'harmonie,  bass-bar..  .B.  de  rc'pc'ti- 
iion,  a  dotted  double-bar,  indicating  a 
repeat. 

Barr^  (Fr.)  In  lute-  or  guitar-playing, 
the  stopping  of  several  or  all  the  strings 
by  laying  the  left-hand  forefinger  across 
them,  the  ne.\t  fret  then  acting  as  a  ca- 
potasto  or  temporary  nut  to  raise  their 
\)\tch. .  .Grand  barr^,  a  stop  of  more 
than  3  strings.  .  .C-barr^,  see  Tranche. 

Barrel-organ.  (Ger.  Drehorgel,  Leier- 
kasten;  Fr.  orgue  a  cylindre  {not^), 
orgue  de  Barbaric  ;  It.  organet'to.)  An 
instr.  (often  portable)  consisting  of  a 
case  containing  pipes,  a  bellows,  and  a 
cylinder  (the  barrel)  turned  by  a  crank 
and  studded  with  pins  or  pegs  ;  when 
the  cylinder  revolves,  the  pins  open 
valves  communicating  with  the  bellows, 
which  is  worked  by  the  same  motion, 
and  wind  is  thus  admitted  to  the  pipes. 
It  generally  plays  a  melody  with  an 
harmonic  accomp.  Larger  forms  (see 
Orchestrion)  are  used  in  dance-halls, 
restaurants,  or  even  in  churches. — In 
another  variety,  hammers  striking  wire 
strings  (as  in  the  pfte.)  are  similarly 
actuated  by  the  revolving  cylinder  (//- 
ano-oigan,  handle-piano). 

Bart  (Ger.)  Ear  (of  organ-pipe).  Also 
Fliigel. 

Barytone,  l.  {Gqt.  Ba'ryton,  Ba'riton  ; 
Fr.  baryton;  It.  bari'tono.)  The  male 
voice  intermediate  between  bass  and 
tenor,  and  in  quality  partaking  more  or 
less  of  the  characteristics  of  both  ;  thus 
the  Germans  distinguish  between  a  Bass' - 
bariton  and  a  Tenor'bariton,  and  the 
French  had  (in  earlier  usage)  basse-tail- 
le,  seconde  iaille,  and  tenor 
concordant.  —  Its  mean  ^_ 
compass  is  from  G  to  /'  :  ^"    i 


— Hence,  a  singer  having  a  barytone 
voice.— 2.  A  bow-instr.  (It.  vio' la  di 
bardo'ne  or  bordone)  resembling  the 
viola  da  gamba,  in  great  favor  during 
the  1 8th  century,  but  now  obsolete  ;  it 
had  6  or  7  gut  strings,  stopped  by  the 
left  hand,  above  the  fingerboard,  and  a 
widely  varj'ing  number  of  brass  or  steel 
strings  (from  9  to  24)  below  it,  which 
acted  as  sympathetic  strings,  though 
sometimes  plucked  with  the  left  thumb. 
The  upper  strings  were  tuned  B  E  A 
d /  b  e\    It  dates  from  the  17th  century. 


^  {.m-) 
^=^ 


^^m 


^ 


— 3.  The  euphonium. — 4.  Prefixed  to 
instr.-names,  barytone  denotes  the  pitch 
of  an  instr.  intermediate  between  bass 
and  tenor  (or  alto);  e.  g.  barytone 
clarinet. .  .  Barytone-clef.,  the  (obsolete) 
/-clef  on  the  3rd  line. 

Ba'rytonhorn  (Ger.)  The  euphonium.. . 
Ba'rytonsckliissel,  barytone-clef. . .  Ba'' 
tytonstiinnie,  barytone  voice  or  part. 

Bas-dessus  (Fr.)     Mezzo-soprano. 

Base.     Old  spelling  of  Bass. 

Bas'kische  Trom'mel  (Ger.)  Tambour- 
ine. 

Bass.  (Ger.  Bass ;  Fr.  basse ;  It.  bas'. 
so.)  I.  The  lowest  tone  in  a  chord,  or 
lowest  part  in  a  composition. — 2.  The 
lowest  male  voice ;  ordinary  compass 
from  F  io  t'  (or  d^): 

\      extreme 
compass 
from    C 
to  e^  : 

— 3.  A  prefix  indicating  the  lowest  in 
various  families  of  instr.s,  as  bass  trom- 
bone.— 4.  (Ger.)  {a)  Abbr.  for  Kontra- 
bass  (double-bass). ..  ((5)  In  earlier 
usage,  a  bow-instr.  intermediate  in  size 
between  the  'cello  and  double-bass, 
having  from  5  to  6  strings..  .(<:)  As  a 
suffi.xtothe  name  of  an  organ-pipe,  bass 
denotes  that  it  belongs  on  the  pedal ; 
e.  g.  Gemshornbass. — Albertibass,  a 
bass  in  brok-  -rrr. m m — — • 0^ 


en  chords  like 
the  following: 
. .  .  Continued  or  figured  bass,  bass 
notes  provided  with  figures  indicat- 
ing the  chords  to  be  performed  above 
the  notes  (Basso  continuo).  ..Bunda- 
fnentalbass,seeBundamental..  .  Ground 
bass,  a  continually  repeated  bass  phrase 
of  4  or  8  measures  (basso  ostinato)... 
Murky  bass,  see  Murky. . .  Supposed 
bass,  a  bass  tone  other  than  the  root  of 
a  chord...  Thorough-bass,  see  that  word. 

Bass-bar.  (Ger. Bal' ken ;  Fr.  barre  d  'har^ 
nionie,  7-essort.)  In  violins  and  the  like, 
a  long  narrow  strip  of  wood  glued  to  the 
inner  surface  of  the  belly  parallel  with 
and  just  beneath  the  G-string,  put  in  to 
strengthen  the  belly  and  equalize  the 
vibration.  [The  violin-maker  Held,  of 
Beuel,  Gennany,  gi\es  the  bass-bar  a 
slight  diagonal  inclination,  in  accord- 
ance with  a  suggestion  by  Ole  Bull.] 

Bass-clef.  F-clti  on  the  4th  line.  (See 
Clef.) 

Basse  (Fr.)    Bass. — (.\lso  applied  to  the 


BASSET-HORN— BATON. 


25 


thick  lower  strings  of  an  instr.,  as  les 
basses  dun  piano)..  .B.  chatitante,  the 
high  "singing"  (i.  e.  flexible)  bass 
voice  ;  a  barytone. . .  B.  chiffn'e^  fig- 
ured bass.  ..-5.  continue,  basso  con- 
tinuo. .  .  B.  contrainte,  basso  ostinato. .  . 
B. -centre,  a  deep  bass  voice. . .  B.  de 
cornet,  old  term  for  the  serpent,  as  the 
natural  bass  for  the  cornet  family... 
B.  de  cremone  {cremorne,  cromorne),  the 
bassoon,  or  its  precursor..  .B.  de  flilte 
traversiere,  b.  cT haulbois,  same  as  pre- 
ceding. .  .  B.  d' harmonic ,  the  ophi- 
cleide. .  .B.  de  viole,  see  Barytone  2. . . 
B.  de  violon,  b.  double,  double-bass... 
B.  figure'e,  figurate  bass. . .  B.  fonda- 
mentale,  {a)  root  of  a  cord,  {b)  a  gener- 
ator (see  Fundamental  bass)..  .B.  guer- 
ricre,  a  species  of  bass  clarinet. .  .  Basse- 
argue,  an  instr.  inv.  by  Sautermuiter  of 
Lyons,  in  \%\2...B.  r^citante,  see  B. 
chantante...Basse-taille,  barytone  voice. 
Bas'set-horn.  (Ger.  Bassclfhom  ;  Fr. 
cor  de  basset ;  It.  cor'no  di  basset' to.) 
An  alto  or  tenor  clarinet  in  F,  no 
longer  in  use  ;  ^.t^      It    has  a 


compass  from 
F  to  c^  : 


single 
reed, and 


a  wooden  tube  bent  at  the  mouthpiece 
and  bell.  Timbre  mellow,  though  of  a 
sombre  quality,  like  the  bass  clarinet, 
especially  in  the  lower  register. 

Bassett'  (Ger.,  also  Basset'l,  Bass'l.) 
I.  Old  term  for  the  'cello. — 2.  As  a 
prefix  to  the  names  of  other  instr.s, 
same  as  Tenor. — 3.  A  4-foot  flute- 
stop  on  the  organ-pedal. 

Basset'to  (It.)  i.  A  small  bass  viol 
with  three  strings  (obs.)— 2.  When 
the  bass  rests,  the  lowest  harmonic 
part.— 3.  Tenor  violin  (rarely). — 4. 
An  8  or  16-foot  reed-stop   in  the  organ. 

Bass'flote  (Ger.  "bass  flute.")  See 
Flotenbass.) 

Bass'geige  (Ger.)  Familiar  term  for  the 
'cello;  ^ro'sse  Bassgeige,  the  double-bass. 

Bass'horn  (Ger.)     See  Appendix. 

Bass'klausel  (Ger.)  The  cadence-like 
leading  of  the  bass  at  a  close,  from 
dominant  to  tonic. 

Bass'lade  (Ger.)     See  Windlade. 

Bas'so  (It.)  I.  Bass,  either  as  the 
fundamental  harmonic  part,  a  bass 
voice,  or  a  bass  singer.— 2.  A  bass 
instr.,  more  especially  the  double-bass. 
—B.  buffo,  see  Buffo. .  .  B.  cantan'te, 
(.a)  a  vocal  bass  ;  (b)  corap.  Basse  chan-  \ 


tante  (opp.  to  basso  prof  on' do)..  .B.  con- 
certan'te,  the  principal  bass,  as  an  ac- 
comp.  to  soli  and  recitatives. . .  B.  con- 
ti'nuo  (or  continua'to),  a  continuous 
bass  provided  with  figures  indicating 
the  chords  to  be  played  above  it ;  also, 
thorough-bass. .  .  B.  figura'to,  (a)  basso 
continuo ;  {b)  a^  figurate  bass  part... 
B. fondamenta'le,  fundamental  bass... 
B.  numera'to,  figured  bass. . .  B.  obbli- 
ga'to,  an  indispensable  bass  part  or 
accomp. ...5.  ostina'to,  ground  bass... 
B.profoti'do,  a  deep,  heavy  bass. ...5. 
ripie'no,  see  Ripieno. 

Basson  (Fr.)  Bassoon .  .  .B.  quinte,  a 
tenor  bassoon  a  fifth  higher  in  pitch 
than     the     ordinary    one  ;     compass : 


which  i 
written 


^ 


Bassoon'.  (Ger.  Fagott' ;  Fr.  basson ; 
It.  fagot' to.)  A  wood- wind  instr.  of  the 
oboe  family,  serving  as  bass  for  the 
wood-wind.  The  tube  is  doubled  upon 
itself,  forming  2  parallel  air-chambers  ; 
the  long,  curving  mouth-piece  is  of 
metal,  with  a  double  reed  ;  compass 
from  Bx'y  to  c'^,  on 
newer  instr.s  to  e'-^,  It^ 

and  e.xtended  by  vir-  

tuosi  to  e"  or  eveny^'*: 
The  unwieldy  length  of  the  parent- 
instr.,  the  bombardo,  led  in  1539  to  the 
idea  of  bending  the  tube  back  upon 
itself,  and  from  the  faggot-like  appear- 
ance of  the  new  instr.  its  Italian  name 
is  derived.  The  tone  is  far  softer  and 
mellower  than  that  of  the  bombardo, 
and  its  expression  is  entirely  under  the 
player's  control. 

Bass'pommer  (Ger.)     See  Bomhart. 

Bass'posaune  (Ger.)    A  bass  trombone. 

(See  Trombone.) 
Bass'schliissel  (Ger.)     Bass-clef. 
Bass'stimme  (Ger.)     Bass  voice. 
Bass'tuba  (Ger.)     See  Tuba. 
Bass  viol.     See  Viol. 
Ba'thyphon   (Gk.;    "the   deep-toned.") 

A   wood-wind   instr.    inv.    in    1829   by 

Wieprecht  (or  Skorra  ?)  of  . . ...         \m- 

Berlin,   having   a   clarinet   ^- ^^-^ 

mouthpiece,  and  a  compass 

from  contra-Z>  to  small  b^ : 

used  for  a  short  time  in  military  bands. 
Ba'ton.     I.    {Yr.  baton  de  tnesure ;   Ger. 

Taktstock,  Taktstab,  Takfierstock,  etcj 


^_ 


m 


26 


BATON— BEC. 


It.  bacchct'ta  [di  diretto're].)     The  staff 

or  wand  with  which  the  conductor  of  a 

musical  performance  beats  the  time. — 

2.  A  rest  of  2  measures. 

Baton    (Fr.)      A    thick    vertical    stroke 

traversing  i  or  more  spaces  of  the  staff, 

and  indicating,  according  to  the  number 

so  traversed,  a  rest  for  an  equal  number 

of  measures  :  ... 

replaced   m  3 

— zzrz — I    ■    [      modern  us fF^ 

^^    I    —  age  by  signs  UZHL 

like  :  —    

(see  Measure-rest ,\y[\AQ.x  Rest).  .  .Bdion 

de  mesure^  a  Baton  X.  .  .B.  de  rej>rise,  a 

repeat. 

Battante  (Fr.)     Beating. 

Battement  (Fr.)  i.  An  obsolete  grace, 
consisting  of  a  short  trill  preceding  the 
principal  tone  and  beginning  on  the 
au.xiliarya  semitone  below  it.  It  had  no 
sign,  being  always  written  out  in  small 
notes :  played  : 


*— 2.  A  Beat  4. 
Bat'tere  (It.)     Down-beat. 
Batterie(Fr.)  i.  A  general  term  for  brok- 
en-chord figures  on  stringed  instr.s;  e.g. 


distinguished  from  the  arpeggio  (ace. 
to  RousiE,-\u)  by  being  played  staccato 
instead  of  legato. — 2.  Striking  instead 
of  plucking  the  strings  of  a  guitar. — 3. 
A  roll  on  a  side-drum. — 4.  The  percus- 
sion-group in  the  orchestra. 
Battery.  An  effect  in  harpsichord -music; 


written  : 


played  : 


Battiraen'to  (It.)  Battement. 
Battu'ta(It.)  I.  A  beat.— 2.  A  measure 
or  bar  {battuta  taken  in  the  narrower 
sense  of  "down-beat";  sz^  Rit'mo  di 
due  batttite). — 3.  In  medieval  counter- 
point, the  forbidden  progression  from 
a  tenth  on  the  up-beat  to  an  octave  on  the 
down-beat,  between  2  outer  parts  ;  e.  g. 
A  battttta,  "  in  time," 
is  a  direction  for  the 
parts  accompanying  a 
vocal  melody  to  keep 
strict  time  (opp.  to 
CO  I  la  parte),  conveying 
a  hint  to  the  singer 
that  his  delivery  should  not  be  too  free. 


Bau  (Ger.)     Structure,  construction. 

Bau'erlein  (Ger.)     Baiiemjlote. 

Bau'ernflote,-pfeife  (Ger.;  "  rusri* 
flute  "  ;  Lat.  ti'hia  rures'tris.)  A  pedal- 
register  not  uncommon  in  old  organs, 
consisting  of  stopped  pipes  of  I  or 
2-foot  pitch. 

Baxoncil'Io  (Span.)  i.  An  organ-stop 
like  the  open  diapason. — 2.  A  small 
bassoon. 

Bayadere',  Bayadeer'.  East-Indian 
dancing-girl. 

Ba'yla,  Ba'yle  (Span.)  A  dance  ;  bayle 
has  the  more  comprehensive  significa- 
tion. 

bb  (Ger.)     Double-flat  (see  Doppel-b). 

B  cancella'tum,  B  du'rum.     See  B. 

Bear'beiten  (Ger.)  To  revise,  work 
over,  adapt,  arrange,  rearrange,  touch 
up. .  .Bear'beititng,  an  adaptation  or  re- 
vision, a  working-over. 

Bearing-notes,  Bearings.  The  tones 
first  carefully  tuned  by  the  tuner  of  a 
pfte.  or  organ,  serving  to  regulate  its 
entire  compass  by. 

Beat.  I.  (Ger.;  Takt'schlag,  Takt'teil; 
Fr.  battement  de  niesure,  temps  ;  It.  bat- 
tu'ta.)  The  motion  of  the  hand  or  foot 
in  marking  time  (the  equal  divisions  of 
the  measure). — 2.  A  division  of  a  mea- 
sure so  marked. — 3.  In  atrill,  a  pulsation 
embracing  2  consecutive  tones. — 4.  In 
acoustics,  see  Acoustics,  §3. — 5.  An  old 
grace,  consisting  of  a  short  trill  before 
the  principal  note  ; 

written :  played : 


^ 


It. 


Beating.     Same  as  Beat  4. 

Bebisa'tion.     Compare  Solmisation. 

Be'bung  (Ger.;  Fr.  balaticcment ; 
tre'moio.)  I.  A  rapid  pulsation  or 
tremulous  effect,  either  vocal  or  instru- 
mental, given  to  a  sustained  tone  for 
tlie  sake  of  e.xpression. — 2.  Specifically, 
an  effect  obtained  on  the  clavichord  by 
holding  down  a  key  after  striking  it, 
and  balancing  the  finger  upon  it  in 
such  a  way  as  to  produce  a  prolonged, 
tremulous  tone.  (On  modern  piano- 
fortes having  the  Erard  action,  a  sus- 
tained tone  can  be  produced  in  a  some- 
what similar  manner.) 

Bee  (Fr.,  "beak.")  A  mouthpiece  (of  a 
flageolet,  clarinet). 


B£CARRE— BERGKREYEN. 


37 


B^carre  (Fr.)     The  natural  (Q). 

Bec'co  (It.)  Same  as  Bee.  .  .Becco  po- 
lac'co,  a  large  species  of  bagpipe. 

Bech'er  (Ger.,  "  beaker,  cup.")  i.  The 
bell  (of  various  wind-instr.s  ;  also 
Sehall'triehter). — 2.  The  tube  (of  a  reed- 
pipe  in  the  organ;  also  Aufsatz, 
Schall'becher). 

Beck'en  (Ger.)     Cymbals. 

Bedeckt'  (Ger.)  Stopped,  as  strings  ; 
opp.  to  leer,  open. 

Bedon  (Fr.)  Old  name  for  drum ...  i?^- 
don  de  Bisraye,  a  tambourine. 

Bee  moll.  (Obs..  from  Lat.  B  tno/Ie,soi\. 
B.)     Be  mol,  Bemol. 

Beffroi  (Fr.)  Gong  (tam-tam). .  .Also, 
an  alarm-bell,  a  tocsin. 

Befil'zen  (Ger.)  To  felt  (put  felt  on 
pfte. -hammers).  .  .Be/il'ziotg,  felting. 

Begei'sterung  (Ger.)  Enthusiasm,  spirit. 

Beglei'ten  (Ger.)  To  accompany. . . 
Begleii'stimmen,  Beglei'tung,  accompa- 
niment ;  accompanying  parts  subordi- 
nate to  a  principal  melody. 

Bei'sser  (Ger.)     A  mordent. 

Bei'tone  (Ger.)  Harmonic  overtones  or 
undertones.. .  Also,  au.xiliary  tones. 

Bekie'len  (Ger.)  To  furnish  with  quills, 
as  the  jacks  01  ?  harpsichord. 

Beklemmt'  (Ger.,  properly  beklom'men.) 
Anxious,  oppressed  [Beethoven]. 

Bele'bend  (Ger.)     Ravvivando. 

Bele'dern  (Ger.)  To  cover  with  leather. 
.  .  .Bele'derung,  formerly,  the  leather, 
now,  the  felt,  used  in  covering  pfte.- 
hammers. . .  Also,  the  strips  of  leather 
covering  the  treble  hammers. 

Belegt'  (Ger.)  Hoarse,  not  clear  ;  veiled 
(of  the  voice). 

Bell.  r.  (Ger.  Clock' e  ;  Yx.  cloche  ;  It. 
campa'na.)  A  hollow  metallic  instr.  of 
percussion,  set  in  vibration  by  a  swing- 
ing clapper  hung  within,  or  by  hammers 
actuated  from  without.  —  2.  (Ger., 
Sehall'triehter;  Fr.  pavilion;  It.  pavi- 
glio'ne.)  The  flaring  end  of  various 
wind-instr.s. 

Bell-diapason.  An  organ-stop,  usually 
of  8-foot  pitch,  with  open  bell-mouthed 
pipes. 

Bellez'za  (It.)     Beauty,  grace. 

Bell-gamba.  An  organ-stop  having 
conical  pipes  surmounted  by  a  bell  ; 
also  called  cone-gamba. 


Bell-harp.  An  old  variety  of  harp  with 
8  or  more  steel  strings  and  enclosed  in 
a  wooden  box,  which  the  player  swung 
to  and  fro  like  a  bell  while  twanging  the 
strings  with  the  thumbs  of  both  hands 
inserted  through  holes  in  the  cover. 

Bellicosamen'te  (It.)  In  a  bellicose, 
martial,  warlike  siylt..  .Bellieoso,  mar- 
tial, warlike. 

Bell-met'ronome.  A  metronome  with  a 
bell-attachment  which  can  be  set  so  as 
to  strike  with  every  second,  third, 
fourth,  or  sixth  beat  of  the  pendulum. 

Bello'nion.  An  instr.  consisting  of  24 
trumpets  and  2  drums  played  by  a  me- 
chanism ;  inv.  in  1812  at  Dresden. 

Bell  open  diapason.     Same  as  Bell-dia- 

pason. 

Bellows.  {G&T.Balg;  Fr.  souffle t ;  It. 
soffiet'to.)  The  mechanical  contrivance 
for  gathering  and  propelling  the  wind 
supplying  the  pipes  or  reeds  of  the 
organ,  harmonium,  concertina,  bagpipe, 
and  the  like.     See  Organ. 

Bell-piano.     See  Glockenspiel  {2). 

Belly.  I.  (Ger.  Deck'e ;  Fr.  table ;  It. 
ta'vola,  pan'cia.)  The  face  (upper  side) 
of  the  resonance-box  of  the  violin  etc. 
• — 2.  (Ger.  Resonatiz'boden  ;  Fr.  reson- 
nance,  table  d' hartnonie ;  It.  ta'vola 
armo'nica.)      Soundboard  of  the  pfte. 

Bemol.     B-flat. 

Bemol  (Fr.),  Bemol'Ie  (It.)  The  flat 
Q))..  .Bc/noliser  {bemollizza' re),  to  flat 
(set  a  flat  before  a  note). 

Ben,  Be'ne  (It.)  Well;  as  ben  mareato, 
well  marked  ;  a  bene  plaeito,  at  pleasure, 
ad  libitum;  ben  ritmato,  see  Bien  rythm/; 
ben  lenicto,  well  sustained  or  held. 

Benedic'tus.     See  Mass. 

Bequa'dro  (It.)     The  natural  (^. 

Berceuse  (Fr.)  A  cradle-song,  lullaby  / 
hence,  a  piece  of  instrumental  music 
imitating  the  effect  of  a  lullaby. 

Ber'gamask.  (Fr.  bergamasque;  It. 
bergama'sca.)  A  clownish  dance  in  de- 
risive imitation  of  the  rustics  of  Ber- 
gamasca  in  Northern  Italy.  (Also  ber- 
gomask,  burgomask.) 

Bergeret'.  A  pastoral  or  rustic  song  or 
dance.     (Also  bargaret,  bargeret.) 

Bergk'reyen,  Berg'reihen  (Ger.) 
"Dance-tunes  from  the  mountains;" 
the  title  of  various  collections  of  dance- 
music. 


28 


BES— BIT. 


Bes    (Ger.)      B    double-flat ;    generally 

called  bb. 
Besai'ten  (Ger.)     To  string,  put  strings 

on. 
Bestiramt'  (Ger. )   With  decision ,  energy. 
Beto'nen  (Ger.)     To  accent,  emphasize. 

..Betonf ,  accented... Beio'nung,  accent, 

stress,  emphasis. 
Bet'tlerleier    (Ger.)      Hurdy-gurdy. . . 

Bcftleropcr,  Beggar's  Opera. 
Bewe'gen  (Ger.)    To  move,  stir,  agitate. 

.  .Beivegt,  moved  ;   con  moto. .  .Bc'oe'- 

giing,  movement,  agitation  (comp.  Mo- 

tioiC)...Bezve'gnngsart,  see  Alovcment  i, 

2,  3- 
Bezif'fern  (Ger.)     To  figure  (as  a  bass). 

...Bezi/'fert,  figured.  .  .Beztf'/friing, 

figuring. 
Bezug'  (Ger.)     All  the   strings  of,  or  a 

set  of  strings  for,  any  stringed  instr. 
Bian'ca  (It.,  "  white.")     A  half-note. . . 
Voce  bianca,  see   Voce. 

Bibi  (Fr.)     A  pianette. 

Bibrev'is  (Lat.)     See  Pyn-hic. 

Bi'chord.  i.  Having  2  strings. — 2.  The 
technical  term  for  an  instr.  having  a 
pair  of  strings,  tuned  in  unison,  for 
each  tone  (as  the  mandolin,  lute,  and 
certain  pftes). 

Bici'nium  (Lat.)  A  2-part  composition, 
especially  a  vocal  one. 

Bi'fara  (also  bif'faj-a,  bi'fm,  piffara, 
piffero).  An  organ -stop,  the  pipes  of 
which  are  either  double-mouthed  or 
paired  ;  the  two  members  of  each  pair 
being  tuned  at  slightly  different  pitches, 
the  interference  of  the  sound-waves 
produces  a  gentle  tremolo.  (Also  Ce- 
lestina.,   Unda  maris,  etc.) 

Bifari'a.  Title  of  a  Presto  in  3-mea- 
sure  rhythm,  in  an  Invention  or  Suite 
ascribed  to  J.  S.  Bach. 

Biju'ga(Lat.)     The  "  2-necked  "  cither. 

Bimol'le  (It.)     Same  as  Bemolle. 

Bi'na.     See  Vina. 

Bi'nary.  Dual ;  two-part.  ..Binary  form, 
a  form  of  movement  founded  on  2  prin- 
cipal themes  (comp.  Sonata),  or  divided 
into  2  distinct  or  contrasted  sections..  . 
Binary  measure,  that  of  common  time, 
the  first  of  every  2  members  taking  the 
accent ;  i.  e.  the  regular  and  equal  alter- 
nation of  the  down-beat  and  up-beat. 

Bind.  I.  Properly,  a  tie  (a  curved  line 
connecting  2   notes   of   like   pitch,   or 


enharmonically  changed  ; 
written  by  Sterndale  Ben- 
nett in  bracket-form  : ^ 

and        by       — ^— >        to  distinguish  it 


Morley 
1597  thus 


^       from  the  Slur). 
The  brace 


binding  together  the  several  staves  of  a 
score. 

Bin'debogen  (Ger.)     A  slur,  or  a  tie. 

Bin'den  (Ger.)  To  bind,  tie  ;  to  con- 
nect, play  or  sing  smoothly  and  con- 
nectedly (legato). .  .  Gebtm'den,  bound, 
tied  ;  legato. .  .  Gebun'dener  Stil,  strict 
style  of  composition,  in  which  disso- 
nances are  prepared  (tied  over)...  Also 
see  Gebuiiden. 

Bin'dung  (Ger.)  A  ligature,  bind,  tie, 
or  slur  ;  hence,  a  suspension  or  synco- 
pation ;  also,  the  legato. .  .Bin' dungs- 
zeichen,  a  sign  used  to  express  any  of 
the  above. 

Biqua'dro  (It.)     Same  as  Bequadro. 

Birn,  Bir'ne  (Ger.)     Socket. 

Bis  (Lat.,  "twice".)  i.  Signifies  that  a 
measure,  passage,  or  section  is  to  be  re- 
peated ;  often  written  over  or  under  a 
slur  embracing  the  music  to  be  repeated. 
— 2.  Used  by  the  French  as  an  excla- 
mation of  applause  ("  ajpain  !"),  like 
the  French  word  "  encore  "  in  English 
usage.  (See  Bissare.) — 3.  The  second 
part,  or  a  continuation,  of  a  scene  on 
the  stage ;  e.  g.,  iG**'';  16'"  and  lei""*" 
then  mean  the  third  and  fourth  parts, 
respectively,  of  such  a  scene. 

Bis'chero  (It.)  Peg  (tuning-peg)  of  a 
violin,  lute,  etc. 

Biscro'ma  (It.),  Biscrome  (Fr.)  A 
l6th-note. 

Bisdiapa'son.  The  interval  of  a  fif- 
teenth, or  double-octave. 

Biso'gna  (It.)  "  Is  necessary,"  "must"; 
as  si  bisogna  da  capo  al  segno,  must  be 
repeated  from  the  beginning  to  the  sign. 

Bisqua'dro  (It.)     Same  as  Bequadro. 

Bissa're  (It.),  Bisser  (Fr.)     To  encore. 

Bissex  (Lat.,  "  twice  six"  ;  Ger.  Zwolf- 
saiier.)  A  kind  of  guitar  having  12 
strings,  of  which  the  6  highest  ones 
could  be  stopped  on  a  fretted  finger- 
board ;  compass  35  octaves  ;  invented 
1770. 

Bis  unca  (Lat.,  "twice  hooked.")  A 
sixteenth-note. 

Bit.  A  short  additional  piece  of  tube 
used  to  lengthen  a  crook  in  the  cornet  ii 


BIZZARRAMENTE— BOMBARD. 


39 


pistons,  etc.,  for  slightly  modifying  the 
pitch. 

Bizzarramen'te  (It.)  Bizarrely,  whim- 
sically, fantastically. .  .jS/ssarrj'rt,  a 
freak,  whim,  fancy,  extravagance... 
Bizzar'ro,-a^  bizarre,  fantastic,  etc. 

Blanche  (Fr.,  "white".)    A  half-note. 

Bla'ser  (Ger.,  "blower.")  A  player  on 
any  wind-instr. 

Blas'instrument  (or  Bla'seinsirumeni) 
(Ger.)  Wind-instrument. .  .Bla'sebalg, 
bellows. 

Blatt  (Ger.)  Reed  (of  a  wind-instr.;  also 
Rohr'hlatt)..  .Dop'pelblatt,  double  reed. 

Blech'instrument  (Ger.)  Brass  instru- 
ment, metal  wind-instr. 

Blind  (Ger.)  "  Blind". .  .Blinde Pfeife, 
dummy  pipe  (or ga.n)... Blinder  Doppel- 
triller,  a  simulated       pH     [*j 
or  imperfect  double  ii*|~^~^|~*^~  etc. 
trill  ;  e.  g.  -^*       m 

Bloch'flote,  Block'fiote  (Ger.)  i.  A 
small  kind  ol  Jiute  a  bee,  in  vogue  in 
the  i6th  century. — 2.  An  organ-stop 
having  pyramid-shaped  fiue-pipes  of  2, 
4,  8,  or  i6-foot  pitch,  and  sometimes 
stopped. 

Block.  In  violins,  etc.,  the  blocks  are 
small  pieces  of  wood  within  the  body, 
glued  vertically  to  the  ribs  between 
belly  and  back  to  strengthen  the  instr. 

Blower.  (Ger.  Bal'gentreter,  Kalkani' ; 
Fr.  souffieitr;  It.  iiraman'iici.)  A 
person  working  the  bellows  of  an  organ. 

B  molle.     See  B. 

Boat-song.  i.  A  song  intended  to  be 
sung  in  a  boat,  especially  in  time  with 
the  oars. — 2  A  vocal  or  instrumental 
composition  imitative  of  l.  {Barcarole, 
Gondoliera.) 

Bob.  A  term  in  change-ringing  applied 
to  the  various  sets  of  changes  which 
may  be  rung  on  6  bells  (bob  minor),  8 
bells  (bob  major),  lo  bells  (bob  royal), 
or  12  bells  (bob  ma.ximus). 

Bobisa'tion.  A  collective  term  for  the 
various  methods  proposed,  during  the 
l6th  and  17th  centuries,  for  naming  the 
tones  of  the  scale  by  syllables.  (See 
Solmisation.) 

Bocal  (Fr.)  Mouthpiece  of  the  horn, 
trombone,  serpent,  etc. — Also,  the  crook 
of  the  bassoon. 

Boc'ca  (It.)  '^loviXh...  .Con  boccachiu'sa, 
with  closed  mouth  (comp.  Brumm- 
stimmen)..  .Bocca    riden'te,    "smiling 


mouth,"  the  position  necessary  for  the 
production  of  beautiful  tones. 

Bocchi'no  (It.)  Mouthpiece  of  a  wind- 
instr. 

Bocedisa'tion.     See  Solmisation. 

Bock  (Ger.;  a\so pol'niscker  Bock,  Gross- 
Bock.)     The  bagpipe. 

Bocks'triller  (Ger.,  " goat's-trill " ;  Fr. 
chevrotenient ;  It.  tril'lo  capri'no.)  A 
trill  like  a  goat's  bleat ;  the  repeated 
interruption  of  one  tone  instead  of  the 
alternation  of  two. 

Bo'den  (Ger.)     Back  (of  violin,  etc.) 

Body.  I.  (Ger.  Cor' pus,  Schall' hasten; 
Fr.  coffre,  corps ;  It.  cor'po.)  The  re- 
sonance-box of  a  stringed  instr. — 2. 
That  part  of  a  wind-instr.  remaining 
after  removing  the  mouthpiece,  crooks, 
and  bell. — 3.  The  tube  of  an  organ- 
pipe  above  its  mouth. — 4.  A  tone  is 
said  to  have  "body"  when  it  is  full 
and  sonorous  ;  the  resonance  of  a  tone 
is  also  called  the  body. 

Boehm  Flute.     See  Flute. 

Bo'gen  (Ger.)  i.  A  bow. — 2,  A  slur 
or  tie  {Hal' tehogen,  Lega' tobogen,  Bin'- 
debogen) .  .  .  Bo'genfliigel,  piano-violia 
{Bo'getthani7nerklavier,Bo'genklavier). 
..  .Bo'genfiihrting,  see  Bowing  I... 
Bo' gens  trie  h,  stroke  of  the  bow. 

BoiS  (Fr.)  Wood. .  .Les  bois  (pi.),  wood- 
wind. 

Boite  (Fr.)  Box  ;  swell-box  {boite  cTex- 
pressio>i). . .  Ouvrez  la  boite,  or  botte  ou- 
verie,  open  swell ;  fermez  la  boite,  close 
swell. 

Bole'ro  (Span.)  I.  A  Spanish  national 
dance  in  3-4  time  and  lively  tempo  (al- 
legretto), in  which  the  dancer  accom- 
panies his  steps  with  castanets  ;  also 
called  Cachucha.    The  castanet-rhythm 

runs    as       _N|  -|- 
follows ; 


alternating 
with  the  melo- 
dy-rhythm : 
— 2.     A  composition  in  the  style  of  a 
bolero. 

Bom'Tiard.  (Ger.  Bom' hart,  Bom'mert, 
Poni'mer;  Yx.bombarde;  It.  bombar'do.) 
A  wind-instr.  of  the  oboe  family,  with  a 
wooden  tube  and  double  reed  ;  proper- 
ly, the  bass  instr.  of  the  shawms,  though 
sometimes  made  as  a  smaller  instr. 
The  unwieldy  length  of  the  larger 
sizes  led  to  the  invention   of  the  bas. 


30 


BOMBARDE— BOYAU. 


soon,  which  is  a  bombard  with  the  tube 
doubled  upon  itself,  and  thus  shortened 
by  half.  The  bombardo' ne  or  conlra- 
bo>nbard  (("icr.  Bass'bomhart)  was  the 
deepest,  followed  by  the  bass  bo'iibard 
{Bomhart),  the  tenor  or  basset-bombard 
{^Bas  sett' bom  hart),  and  the  alto  or  bom- 
bar' do  pic' colo. 

Bombarde  (Fr.)  i.  Bombard. — 2.  Po- 
saune  2. 

Bombar'don.  i.  A  large  instr.  of  the 
trumpet  family,  used  as  a  bass  in  mili- 
tary music,  and  belonging,  in  its  mod- 
ern forms,  to  the  sa.xhorn  group  ;  the 
usual  sizes  are  in  B*),  F,  C,  and  contra- 
B[)  ;  but  the  bombardon 
proper,  old  model,  is  in  F, 
having  3  valves  and  a  com- 
pass from  contra-/' to  d^  :  Sva 
It  is  non-transposing. — 2.  The  bass  of 
the  sa.xhorn  s. — 3.  A  deep-toned  reed- 
stop  in  the  organ. 

Bora'bo  (It.)     A  figure  in  repeated  notes. 

Bom'byx  (Gk.)  An  ancient  Greek  wind- 
instr.,  presumably  with  a  reed. 

Bon  (Fr.)  Good...^()«  temps  de  la 
mesure,  strong  beat. 

Bonang.  A  Javanese  instr.  consisting 
of  gongs  mounted  on  a  frame. 

Bones.  A  set  of  4  pieces  of  bone,  wood, 
or  ivory,  held  pairwise  between  the 
fingers,  and  used  to  mark  time  as  a  rat- 
tling accompaniment  to  a  dance,  song, 
or  instrumental  performance. 

Book.  I.  (Ger.  Heft :  Fr.  cahier;  It. 
li'bro.)  A  part  of  a  series  of  songs,  ex- 
ercises, etc.,  under  a  separate  paper 
cover. — 2.  The  words  (libretto)  of  an 
opera,  oratorio,  etc. 

Boot.     The  foot  of  a  reed-pipe  (organ). 

Bordun'  (Ger.)  Bourdon.  (The  2  free 
strings  on  either  side  of  the  fingerboard 
of  the  hurdy-gurdy,  that  kept  up  a  con- 
tinual humming,  were  called  Borditne; 
borduntis  occurs  as  the  name  of  the 
bass  strings  stretched  beside  the  finger- 
board of  the  ancient  viella.) 

Bouche  (Fr.)  Mouth;  a  bouche  fermJe, 
with  closed  mouth  (comp.  Brttmm- 
stimmeti). 

Bouch6(e)  (Fr.)  Muted  (of  wind-instr.s)  ; 
stopped  (of  organ-pipes). 

Bouffe  (Fr.)  Same  as  Buffo..  .Opera 
bouffe,  comic  opera. 

Bourdon.  (Fr.)  i.  A  drone  bass. — 2. 
An  organ-stop  of  16  or  32-foot  pitch. 


having  stopped  wooden  pipes,  some- 
times with  metallic  tops  ;  tone  usually 
hollow  or  "  fluty,"  i.e.  deficient  in  har- 
monics. The  French  also  have  open 
bourdons  of  8  and  4-foot  pitch  {bour- 
dons de  huit,  de  qiiatre  onverts). — 3. 
In  French  usage,  the  lowest  string  of 
the  'cello  and  double-bass  ; — also,  a 
great  bell,  as  the  bourdon  of  Notre- 
Dame. .  .Faux-bourdon,  see  Fabiirden. 

Bourr^e  (Fr.)  i.  A  dance  of  either 
French  or  Spanish  origin,  from  Au- 
vergne  or  Biscaya,  in  rapid  tempo,  con- 
sisting of  2  parts  of  8  measures  each 
and  in  4-4  or  2-4  time. — 2.  A  move- 
ment in  the  earlier  Suites,  in  alia  breve 
time. 

Boutade  (Fr.)  i.  A  short  ballet  per- 
formed, as  it  were,  impromptu. — 2. 
An  instrumental  impromptu  or  fantasia. 
— 3.     An  old  French  spectacular  dance. 

Bow.  (Ger.  Bo' gen;  Fr.  archet;  It.  ar'co^ 
An  implement  originally  curved  out- 
ward, though  now  slightly  inward, 
consisting  of  an  elastic  wooden  rod 
(the  slick),  and  of  from  175  to  250  horse- 
hairs [Grove]  (the  hair)  attached  to  the 
bent  point  or  head,  and  drawn  into 
proper  tension  by  the  sliding  nut,  which 
is  actuated  by  the  screw,  (Schuster  & 
Otto,  JNIarkneukirchen,  have  recently 
[1893]  manufactured  bows  with  Jine 
gut  threads  in  lieu  of  hairs.)  After 
rubbing  the  hair  with  rosin,  the  bow  is 
drawn  across  the  strings  (of  the  violin, 
bow-zither,  etc.),  setting  them  in  vibra- 
tion ;  the  vibration  is  communicated  to 
the  resonance-box,  which  latter  reinfor- 
ces the  weak  tone  of  the  strings.  .  .Boiu- 
arm  ox  -hand,  the  right  arm  or  hand.. . 
Bo7u-guitar  (It.  chitar'ra  coll'  arco), 
a  species  of  violin  with  a  guitar-shaped 
body. .  .  Bo'M-clavier ,Boiv-harpsichord, 
see  Piano-violiti. .  .Bow-instrument, 
one  played  with  the  aid  of  a  bow,  as 
the  violin  or  ho-^'-iSxYv^x..  .Bow-zither, 
see  Zither. 

Bow  {verb.)  I.  To  execute  with  a  bow. 
— 2.  To  mark  (a  passage  or  piece) 
with  signs  indicating  the  bowing. 

Bowing.  I.  (Ger.  Bo'genfiihrung.) 
The  art  of  handling  the  bow  ;  the  style 
or  method  of  a  player, — "his  bowing 
as  shown  in  his  management  of  the 
bow." — 2.  (Ger.  Strich'art^  The 
method  of,  and  signs  for,  executing  any 
given  passage;  "the  bowing  of  the 
passage." 

Boyau  (Fr.)     Gut ;  hence,  gut  string. 


BOZZETTO— BRIO. 


31 


Bozzetto  (It.)  Sketch. 
B  quadra'tum,  B  qua'drum.     SeeB. 
Braban^onne.       The    Belgian   national 
hymn. 

Brac'cio    (It.)       The    arm. ..  J'io^a    da 

braccio,  see  Viola. 
Brace.  I.  (Ger.  Klam'mer ;  Fr.  ac- 
colade;  It.  grap'pa.)  A  bracket  con- 
necting the  heads  of  2  or  more  staves. 
— 2.  One  of  the  leathern  slides  on  the 
cords  of  a  side-drum. 
Branle,  Bransle  (Fr.)  A  brangle  or 
brawl ;  an  old  French  dance  in  4-4 
time,  in  which  several  persons  joined 
hands  and  took  the  lead  in  turn.  Branle 
was  the  generic  name  of  all  dances  in 
which,  like  the  Cotillon  or  Grossvater, 
one  or  two  dancers  led  the  rest,  who 
imitated  all  the  evolutions  of  their 
leaders.  (Also  B?-anlle.) 
Brass-band.  See  Band  2  ;  distinguished 
from  full  military  band  by  omission  of 
reed-instr.s.  .  .Brass-wind,  collective 
term  for  the  players  on  metal  wind- 
instr.s  in  an  orchestra. 
Bra'tsche  (Ger.)  The  tenor  violin  (comp. 

Viola). 
Bra'vo  (It.,  masc.  adj.,  pi.  bravi ;  fern. 
brava,  pi.  brave.)     Used   as   an   inter- 
jection,  signifying    "well  done!"   and 
the  like  ;   superlative  bravissimo,-a,  etc. 
Bravour'    (Ger.)    See    Bravura. .. Bra- 
vour'arie,  aria  di  hravxira...  .Bravo nr'- 
sttick,  a  vocal  or  instrumental  piece  of 
a  brilliant  and  florid  character. 
Bravoure  (Fr.)     See  Bravura. .  .  VaLre  de 
bravoure,  an    instrumental    waltz   of  a 
brilliant,  showy  character. 
Bravu'ra   (It.)     Boldness,    spirit,    dash, 
brilliancy. ..  .(4 'r/a   di  bravtira,  3i  vocal 
solo  consisting  of  difficult  runs  and  pas- 
sages, designed  to  show  off  the  singer's 
voice    or     skill. . .  Con    bravura ^    with 
boldness,  etc. 
Brawl.     See  Branle. 
Break.       i.    The   point    at    which    one 
register    of    a   voice    or   instr.   passes 
over   into   another  ;    in   the  voice,  the 
junction  of  the  head-  and 
chest-registers  ;      in      the 
clarinet, between  the  notes : 
..  .Breaking  of  voice,    see    Mutation. 
— 2.  A  false  or  imperfect  tone  produced 
by  incorrect  lipping  of  a  horn  or  trum- 
pet ;  or  by  some  difficulty  with  the  reed 
of  the  clarinet  (the  "goose");  or,  in 
singing,  by  some  defect  in  the   vocal 


'i*-5*- 


organs. — 3.  In  an  organ-stop,  when 
playing  up  the  scale,  the  sudden  return 
(caused  by  an  incomplete  number  of 
pipes)  to  the  lower  octave  ;  also,  in  com- 
pound stops,  any  point  in  their  scale 
where  the  relative  pitch  of  the  pipes  is 
changed. 

Breakdown.  A  negro  dance  (U.  S.)  of 
a  noisy,  lively  character. 

Breathing-mark.  A  sign  set  above  a 
vocal  part  to  show  that  the  singer  may 
(or  must)  take  breath  at  that  place  ; 
written  variously  (',  *,  v^,  V,  //). 

Breit  (Ger.)     Broad,  stately,  slow. 

Brett'geige  (Ger.; also  Sack'geige,  Spitz' - 
violgeige,  Stock'geige,  Ta'schengeige.) 
A  kit. 

Breve,  i.  (Lat.  and  Ger.  Brev'is ;  Fr. 
brl've ;  It.  bre've.)  A  note  equivalent 
to  2  whole  notes  or  semibreves;  the  long- 
est employed  in  modern     ^^  ,^^|  ,     ,  ' 

music.   Itis  written  thus  : 

— 2.  In  medieval  music,  a  note  having -J 
or  \  the  time-value  of  the  tonga  (corop. 
Mensurable  music). .  .Alia  breve  (It.), 
{a)  originally,  a  time  of  4  minims  (=  I 
breve)  to  the  measure  ;  time-signature 
C|D.  ^^ter  CP  ;  this  is  2-r  or  great 
alia  breve  time,  (b)  Now,  4-4  time 
with  2  beats  instead  of  4  to  the  measure, 
and  in  quicker  tempo ;  time-signature 
(|>  ;  also  called  alia  cappella; — opp.  to 
Tempo  07-dinario  I. 

Brev'is  (Lat.)     A  breve. 
Bridge.      (Ger.   Steg ;  Fr.  chevalet ;  It. 
ponticel'lo.)     I.  In  bow-instr.s,  a  thin, 
arching  piece  of  wood  set  upright  on  the 
belly  to  raise   and  stretch    the   strings 
above  the  resonance-box,  and  to  com- 
municate to  it   their   vibrations,  which 
the  bridge  also  cuts  off  from  the  rear 
ends   of  the    strings. — 2.  In  the  pfte. 
and  other  stringed  instr.s,  a  strip  or  rail 
of  wood  or  metal  over  which  the  strings 
are  stretched. 
Brief.     Obsolete  for  Breve. 
Brillant,-e  (Fr.),   Brillan'te  (It.)  Bril- 

liant,  showy,  sparkling. 
BrilTenbasse(Ger.)  "Spectacle-basses," 
familiar  term  for  the  abbreviated  nota- 
tion   of     alternating 


W^^ 


eighth-notes  or  i6th- 
notes,  e.  g. 

Brin'disi    (It.)      Drinking-song,    some- 
times in  style  oi  Jodler. 

Bri^   (It.)     Vivacity,   spirit,    fire...C<7rt 


32 


BRISE— BURLESQUE. 


brio,  or  brio' so,  with   fire  and  vivacity, 
spiritedly. 

Bris€,-e  (Fr.)  Brol<en  (as  chords)... 
Cadc-iice  brisJc,  a  grace  consisting  of  a 
short  trill  beginning  on  the  higher  au.x- 
iliary  note : 


Broderies  (l>"r.,  pi.)  Ornaments,  embel- 
lishments. 

Broken  cadence.  See  Cadence. . .  Brok- 
en  chords,  chords  the  tones  of  which 
are  sounded  in  succession  instead  of 
together  (see  A  rpeggio). . .  Broken  music, 
music  for  the  harp,  guitar,  and  other 
instr.s  on  which  the  chords  are  generally 
arpeggio'd  or  broken. .  .  Broken  octaves, 
series  of  octaves  in  which  the  higher 
tones  alternate  with  the  lower,  thus  : 


S^ 


B  rotun'dum.     See  B. 

Brumm'eisen(Ger.)  Ajew's-harp  (usu- 
ally Maul'  trommel). 

Brum'mer  (Ger.)     Drone. 

Brumm'stimmen  (Ger.)  "Humming 
voices "  ;  production  of  tone  without 
words,  through  the  nose,  with  closed 
mouth  {a  boc'ca  chiu'sa)  ;  a  not  infre- 
quent effect  in  male  quartets,  especially 
as  an  accomp.  to  a  solo  part. 

Brumm'ton  (Ger.)     Drone. 

Bruscamen'te  (It.)  "Brusquely"  or 
forcibly  accented. 

Brust  (Ger.)  Breast;  chtsX...  .Brust'- 
stimme,  chest-voice. .  .Brust' ton,  chest- 
tone.  .  .Brust'werk,  (usually)  the  pipes 
of  the  swell-organ  or  choir-organ  as  set 
up  together  in  the  middle  of  the  instr. 

Bu'ca  (It.)  Sound-hole  of  lute,  mando- 
lin, etc. 

Bucci'na  (Lat.)  Either  a  curved  trumpet, 
originally  the  horn  of  an  o.x ;  or  a 
straight  trumpet  {tuba),  the  prototype 
of  the  trombone  or  posaune. 

Bucco'lico,-a  (It.),  Bucolique  (Fr.) 
Bucolic,  pastoral,  rustic. 

Biich'se  (Ger.)  Boot  (of  a  small  reed- 
pipe  in  the  organ)  ;  also  Hose. 

Buch'stabentonschrift  (Ger.)  Alpha- 
betical notation. 

Buffa're  (It.)  To  play  the  wag  or  buf- 
foon, to  jest,  trifle. 


Buffet  (Fr.)     Organ-case,  or  case  of  any 

partial  organ .  .  .  Buffet  d'orgues,  a  small 
organ  complete,  its  case  and  all  within. 

Buffo, -a  (It.)  Comic,  humorous  ;  hence 
Buffo,  Buffo-singer,  the  comic  actor  in 
an  opera  ;  a  comic  singer..  .Aria  buffa, 
comic  air  or  aria. . .  Opera  biiffa,  comic 
opera. .  .  Buffone,  comic  opera-singer. 

Buffone'sco,-a  (It.)  Droll,  ludicrous.. . 
B uffone seamen' te ,  drolly,  etc. 

Bugle,  Bugle-horn.  (Ger.)  Bugelhorn, 
Flii'gelhorit ;  Fr.  bugle;  It.  trom'ba.) 
I.  A  wind-instr.  of  brass  or  copper, 
with  cupped  mouthpiece,  used  for  in- 
fantry calls  and  signals,  having  7  har- 
monic tones : 


%^r 


and  made  in  various  pitches  {B\),  C, 
Bq). — 2.  The  key-bugle  {A'ent  bugle, 
/Regent's  bugle)  (Ger.  Biigelhorn  mit 
Klappen;  Fr.  bugle  h  cles) ;  it  has  6 
keys  and  ^  ^  ;  inv.  by  Halli- 
day  in  1815. — 
3.  Valve-bugle 
(see  Saxhorn). 


a  compass 
of  over  2 
octaves  : 


i^^ 


Biih'nenweihfestspiel  (Ger.)  "Stage- 
consecrating  festival  play  ;  "  the  epithet 
bestowed  by  Wagner  on  Parsifal,  his 
last  musical  drama. 

Bund  ((]er.)  A  space  between  frets,  on 
a  fretted  fingerboard.  [Buttd  is  used 
as  effectively  synonymous  v>'\th.  fret ;  e. 
g..  Bund  I.  means  ist  fret,  the  string 
being  stopped  on  the  fret  by  pressure 
in  the  space  just  behind  it.]..  .Btindfrei 
("  unfretted,"  i.  e.  not  spaced  off  by  2 
or  more  frets  or  tangents),  a  term  desig- 
nating a  clavichord  in  which  each  key 
had  its  own  string  ;  opp.  to  gebunden. 

Buonaccor'do  (It.)  A  small  spinet  with 
narrow  keys,  for  children. 

Buo'no,-a[boo-o'no]  (It.)  Q,ooA...Buo7ia 
nota,  an  accented  note  (one  on  a  strong 
beat) ;  btion  gusto,  good  taste. . .  Buo- 
namen'te,  well,  accurately. 

Burden,  i.  A  refrain  or  chorus  recur- 
ring after  each  stanza  of  a  song. — 2. 
The  drone  of  the  bagpipe. — 3.  The 
bass  part. 

Bur'la  (It.)  A  joke,  ]&st..  .Burlatt'do, 
joking,  jesting,  rom'pmg..  .Burle' sea, 
a  burlesque. .  .  Burle' sco,-a,  burlesque, 
farcical,  comic. .  . B urlescamen' te ,  in  bur- 
lesque style. 

Burlesque.     (It.  bur le' sea.)    A  dramatic 


BURLETTA— CADENCE. 


3J 


extravaganza,  or  farcical  travesty  of 
some  serious  drama  or  subject,  with 
more  or  less  music. 

Burlet'ta  (It.)  A  comical  operetta  or 
musical  farce. 

Busain  {Busaun,  Buzain).  A  reed-stop 
in  the  organ,  generally  of  1 6-foot  tone, 
and  on  the  pedal. 

Button.  I.  A  small  round  disk  of  leath- 
er screwed  on  the  tapped  wire  of  a 
tracker  to  keep  it  in  place. — 2.  A  key 
of  the  accordion,  etc. — 3.  The  round 
knob  at  the  base  of  the  violin,  etc. 

Bux'eatib'ia,  Bux'us(Lat.)  An  ancient 
oox-wood  flute  with  3  finger-holes,  re- 
sembling the  Phrygian  flute. 


C.  I.  (Ger.  C;  Fr.  ut ;  It.  do.)  The 
first  tone,  ist  degree,  or  key-note  of  the 
typical  diatonic  scale  of  C-major.  (Com- 
pare Alphabetical  notation,  and  Sol- 
misation.).  . .   —a  -  on     the    pfte.- 

Middle-C,  the  ^  keyboard;  Ten- 

note   c^   ?•  ^    -G>-     or  C  is  small  c. 

— 2.  Abbr.  for  Capo  (D.  C.  =  da  capo); 
Cantus,  Canto  (c.  f.  =  cantus  firmus  or 
canto  fermo);  Col  (c.  B.=col  basso,  c. 
8va  =  coU'ottava);  C.-B.  (Cb.)  =  con- 
Irabbasso. 

Cabalet'ta  (It.)  A  song  in  rondo-form, 
with  variations,  often  having  a  triplet 
accomp.  imitating  the  hoofbeats  of  a 
cantering  horse. 

Cabinet  d'orgue  (Fr.)     Organ-case. 

Cabinet  organ.     See  Reed-07-gan. 

Cabinet  pianoforte.  An  old  style  of 
upright  pfte.;  a  grand  pfte.  set  on  end. 

Cabis'cola  (Lat.)  Precentor  of  a  choir. 

Cac'cia  (It.)  The  chase  ;  a  hunt..  .Alia 
£.,  in  the  hunting  style  (i.  e.  accompan- 
ied by  horns). 


Cachee  (Fr.)  Hidden,  concealed,  cov- 
ered ;  said  of  fifths  and  octaves. 

Cachu'cha  (Sp.)  A  dance  similar  to  the 
Bolero. 

Cacoph'ony.  (Fr.  cacophonic;  It.  caco- 
foni'a.)  Discord  ;  harsh  or  discordant 
music. 

Cadence.  (Ger.  Kadenz' ;  Fr.  cadence; 
It.  caden'za.)  I.  See  Cadenza. — 2.  The 
measure  or  pulsation  of  a  rhythmical 
movement. — 3.  {a)  In  general,  the 
closing  strains  of  a  melody  or  harmon- 
ic movement,  {b)  Specifically,  an  har- 
monic formula  (i.  e.  succession  of  chords) 
leading  to  a  momentary  or  complete 
musical  repose  ;  the  close  or  ending  of 
a  phrase,  section,  or  movement. . .  Amen 
c,  popular  term  for  plagal  c,  to  which 
the  word  amen  is  often  sung. .  .Authen- 
tic c,  see  Perfect c.  .Avoided,  Broken, 
Deceptive,  or  False  c,  see  Ititerrupted 
c. .  Complete  c,  a  perfect  c. .  .Hal /-ca- 
dence (half-close),  or  Imperfect  c,  the 
chord  of  the  tonic  followed  by  that 
of  the  Aoxmx\^x\\...  .Interrupted  c,  an 
unexpected  progression  avoiding  some 
regular  ca-dence..  .Irregtilar  c,  an  in- 
terrupted c.  .Medial  c,  in  ancient 
church-music,  one  in  which  the  mediant 
was  peculiarly  prominent. .  .Alixed  c, 
that  formed  by  the  succession  of  the 
subdominant,  dominant,  and  tonic 
chords,  it  thus  being  a  "  mi.xture"  of 
the  authentic  and  plagal  cadences. . . 
Perfect  c,  the  dominant  triad  or  chord 
of  the  7th  followed  by  the  tonic  chord  ; 
the  authentic  cadence  of  the  ecclesias- 
tical modes. . .  Plagal  c,  that  formed  by 
the  chord  of  the  subdominant  followed 
by  the  tonic  chord  ;opp.  to  authentic c. . 
Surprise  c,  an  interrupted  c. .  .Radical 
c,  a  close,  either  partial  or  complete, 
formed  with  two  fundamental  chords.. . 
Whole  c,  a  perfect  c. — A  few  examples 
are  given  below  : 


Authentic. 


Plagal. 


Interrupted. 


Mixed. 


I 


# 


"^m 


*: 


:S= 


^ 


Cadence  (Fr.)  i.  A  cadence  2  and  3. — 
2.  A  trill  (as  c.  brillante,  c.  perlile). — C. 
hris/e,  see  Bris^e. . .  C.  /vite'e,  avoided 
cadence. . .  C.  imparfaite  (or  stir  la  domi- 
nante),  half-cadence.  .  .  C.  interroinpue. 


interrupted  cadence. . .  C.  irr/guH^ty 
half-cadence. . .  C.  parfaite  (or  sur  la 
toiiique),  perfect  cadence. ..  C.  plagale, 
plagal  cadence...  C  pleine,  (a)  a  trill 
preceded    by  the  higher  auxiliary  as  9 


34 


CADENT— CANON. 


long  appoggiatura  ;  (/')  the  progression 
from  a  dissonant  chord  to  a  consonant 
one. . .  C.  7-onipite,  broken  cadence. 

Cadent.     An  obsolete  grace  (see  Grace). 

Cadenz  (Ger.)     See  Kadenz. 

Caden'za.  i.  A  brilliant  passage  in  a 
vocal  solo,  usually  at  its  conclusion, 
having  the  effect  of  an  extemporiza- 
tion, but  commonly  prepared  before- 
hand. As  an  interpolation  on  the 
singer's  part,  such  c.  s  are  no  longer  in 
vogue. — 2.  An  elaborate  and  florid  pas- 
sage or  fantasia  introduced  in,  and  in- 
terrupting, the  closing  cadence  of  the 
first  or  last  movement  of  a  concerto  ; 
the  orchestral  accomp.  generally  pauses 
after  a  hold  on  the  *  chord  of  the  tonic, 
leaving  the  field  clear  for  the  perform- 
ance, by  the  solo  instr.,  of  the  cadenza. 
This  is  either  a  more  or  less  original 
effort  of  the  soloist,  or  a  supplementary 
passage  written  out  by  the  composer 
himself  or  some  other  musician.  Such 
cadenzas  are  for  the  most  part  built  up 
of  themes  or  reminiscences  from  the 
work  to  which  they  are  appended,  and 
are  always  calculated  to  display  the 
soloist's  proficiency  in  the  most  brilliant 
light. 

Caden'za  (It.)  A  cadence.. .  C.  fin'ta  or 
d'ingan'no,  a  deceptive  cadence. . .  C. 
fio7-itu'ra,  an  ornamented  cadence. 

Cssura.     See  Cesttra. 

Caisse  (Fr.)  A  drum...C  plate,  the 
shallower  side-drum. . .  C.  roiilante, 
drum  with  wooden  cylinder,  that  of  the 
ordinary  fd/j-j-^  being  of  copper.. .  Grosse 
c,  bass  drum  (also  Gros-tambonr). 

Calamel'lus.     See  Calaiiius. 

Ca'lamus  (Lat.)  A  reed-flute  or  reed- 
pipe  (chalumeau  ;  shawm). . .  C.pastora'- 
lis,  or  tibia'lis,  a  very  ancient  wood- 
wind instr.,  a  reed  with  3  or  4  finger- 
holes. 

Calan'do  (It.)  Decreasing.  An  expres- 
sion-mark denoting  a  decrease  in  loud- 
ness, usually  coupled  with  a  slackening 
of  the  tempo. 

Calandro'ne  (It.)  A  small  variety  of 
chalumeau  or  clarinet,  a  favorite  among 
the  Italian  peasantry. 

Calascio'ne  (It.)  A  variety  of  lute  or 
guitar  with  fretted  fingerboard,  and  2 
gut  strings,  tuned  a  fifth  apart  and 
twanged  with  »  plectrum ;  found  in 
lower  Italy. 


Cala'ta  (It.)  A  lively  Italian  dance  in 
2-4  time. 

Calcan'do   (It.)     Hastening  the  tempo. 

Calichon  (Fr.)     Calascione. 

Calisonci'no  (It.)     Calascione. 

Call.  A  signal  given  by  the  fife,  bugle 
or  drum,  calling  soldiers  to  some  spe- 
cial duty. 

Calli'ope  (also  Kalli'ope).  A  steam- 
organ  ;  a  species  of  pipe-organ  having 
a  harsh  tone  produced  by  steam  under 
pressure  instead  of  wind. 

Callithum'pian  concert.  (Ger.  Katz'- 
enmusik ;  Fr.  charivari ;  It.  chias'so, 
scampaiia'ta.)  A  boisterous  serenade 
given  to  some  person  who  has  become 
an  object  of  popular  hostility  or  ridi- 
cule ;  characterized  by  the  blowing  of 
horns,  beating  on  tin  pans,  derisive 
cries,  groans,  hoots,  cat-calls,  etc. 

Cal'ma  (It.)  Calm,  tranquillity. ..  Gr/- 
man'do,  calm,  growing  quieter. ..  Cd/- 
ma'io,  calmed,  tranquilized. 

Calo're  (It.)  Warmth,  passion  ;  con  c, 
with  warmth,  clc.Caloro'so,  warmly, 
passionately. 

Cambia're  (It.)  To  alter,  change... 
Nota  camhia'ta,  changing-note. 

Ca'mera  (It.)  Chamber,  room. .  .Mu'sica 
die,  chamber-music ...  5^«(7;'a  di  c, 
chamber-sonata..  .Alia  c,  inthestyleof 
chamber-music. 

Camminan'do  (It.)  "Walking,"  mov- 
ing, flowing.     (See  Andante.) 

Campa'na(It.)  A  bell  ;  in  eccles.  usage, 
a  church-bell..  .Campanel'lo^-a,  a  small 
bell..  .Campanelli' no.  a  very  small  bell. 
.  .  Catnpani' sta ,  a  bell-ringer. 

Campanet'ta  (It.)     See  Glockenspiel. 

Campanology.  Theory  of  the  con- 
struction and  use  of  bells. 

Canarder  (Fr.)  To  produce  a  *'  couac  " 
on  the  clarinet  or  oboe. 

Canarie  (C(f7«r7r/irj',  Canary  ;  It.  Cana'rio). 
A  lively  dance  of  French  or  English 
origin,  the  melody  being  in  6-8  or  4-4 
time  and  having  2  phrases. 

Cancel.     Sec  A^atural  i. 

Cancrizans  (Lat.)     Retrogressive.     (It 

cancrizza/nen'te,  cancrizzan'ie.) 
Can'na    (It.)     A   reed   or   pipe..  .Canm 

d'a'nima,  flue-pipes  ;  canne  a    lin'gua, 

reed-pipes. 
Canon.     (Ger.  Ka'non  ;  Fr.  canon  ;  It. 

ca'none.)      I-    The    strictest    form   of 


CANONE— CANTICLE. 


35 


mus.  imitation,  in  which  two  or  more 
parts  take  up  in  succession  exactly  the 
same  subject. — The  part  taking  the 
lead  is  called  the  antecedent,  and  the 
following  part  the  consequent.  Canons 
are  now  usually  written  out  in  full,  but 
during  the  high  tide  of  medieval  counter- 
point it  was  customary  to  write  only  the 
antecedent,  and  to  mark  the  successive 
entrances  of  the  other  parts  by  signs  or 
merely  by  mysterious  superscriptions 
{enigmatical  canons)',  the  superscription 
was  then  called  the  canon  (i.  e.  rule,  di- 
rection), while  the  composition  was 
called  the  fu'ga  or  consegnen'za. —  Ac- 
cording to  the  interval  from  the  ante- 
cedent at  which  the  consequent  enters, 
the  canon  is  called  a  C.  in  tmison  (the 
consequent  taking  the  very  same  notes 
as  the  antecedent,  but  of  course  enter- 
ing later)  ;  C.  at  the  octave  (the  conse- 
quent entering  an  octave  above  or  be- 
low) ;  C.  at  the  Jifth,  fourth,  etc.  The 
c.  could  also  be  varied,  like  the  fugue, 
by  the  diminution  or  augmentation  of 
the  theme,  by  inversion  or  retrogression, 
etc.  (Comp.  Fugue.)  When  the  parts 
entered  at  the  time-interval  of  a  minim 
one  after  the  other,  the  canon  was 
called  a  fuga  ad minimam. — 2.  Ancient 
Greek  name  for  the  Monochord. 

Ca'none  (.It.)  A  canon..  .C.  aper'to,  an 
"  open  "  canon,  i.  e.  one  written  out  in 
full. . .  C.  cancrizzan'te,  canon  by  retro- 
gression. . .  C.  chin' so,  a  ' '  close  "  canon, 
in  which  only  the  leading  partis  written 
out  in  full ;  an  enigmatical  canon..  .  C. 
enigma'tico,  enigmatical  canon  (see 
Cano?}). .  .  C.  infmi' to  or  perpe'tuo,  an 
infinite  canon  •,  one  which,  without  a 
specially  added  close,  can  be  sung  on 
for  ever. . .  C.  sciol'to,  a  canon  in  free 
imitation. 

Canonical  hours.  The  7  canonical 
hours  of  the  R.  C.  Church  are  the 
established  times  for  daily  prayer ; 
called  matins  (incl.  nocturns  2lVi.A  lauds), 
prime,  terce,  sext,  nones,  vespers,  aiid 
complin.  Those  from  prime  to  nones 
are  named  after  the  hours  of  the  day, 
prime  (the  first  hour)  being  at  or  about 
6  A.  M.,  terce  (the  third)  at  g,  sext  (the 
sixth)  at  noon,  and  nones  (the  ninth)  at 
3  P.M. 

Cano'nici.     See  Harmonici. 

Canonic  imitation,  strict  imitation  of 
one  part  by  another  (see  Canon). 

Canta'bile  (It.;  In  a  singing  or  \--:.:A 
style.     Where  a  passage  is  so  marked, 


the  leading  melody  should  stand  out 
well  from  the  accomp.,  and  the  general 
effect  should  be  free  and  flowing. 

Cantamen'to  (It.)  Same  as  Cantilena, 
Canto. 

Cantan'do  (It.)     See  Cantabile. 

Cantan'te  (It.)    A  singer  ;  also,  singing, 

gay. 

Canta're  (It.)  To  sing.. .  C.  a  a'7'ia,  to 
sing  with  more  or  less  improvisation.. . 
C.  a  orec'chio,  to  sing  by  ear. .  .  C.  di 
nianie'ra  or  maniera'ta,  to  sing  in  a 
florid  or  ornamental  style. 

Canta'ta  (It.)  Originally,  a  vocal  piece, 
as  opp.  to  an  instrumental  one,  or 
sonata.  But  ca?itata  has  come,  like 
sonata,  to  mean  a  definite  form  of  com- 
position, with  the  difference,  that  all 
earlier  forms  once  called  cantate  must 
still  be  taken  into  account  in  defining 
the  word  cantata,  whereas  no  one 
would  now  think  of  calling  a  short  and 
simple  prelude  a  sonata. — In  modern 
usage,  a  cantata  is  a  more  or  less  ex- 
tended vocal  work  with  instrumental 
accomp.,  consisting  of  chorus  and  solos, 
recitative,  duets,  etc.;  distinguished 
from  the  oratorio  and  opera  by  the  ex- 
clusion of  scenic  effects  and  the  epic 
and  dramatic  element  ;  though  the  lat- 
ter can,  of  course,  not  be  entirely  ex- 
cluded, as  even  the  purest  lyrical 
emotion  may  often  be  intensified  to 
dramatic  pathos. —In  the  sacred  cantata 
this  form  of  composition  finds  its  finest 
and  most  unequivocal  expression. 

Cantatii'la,  Cantati'na  (It.)  A  short 
cantata.     (Fr.  cantatilic.) 

Cantato're  (It.)  A  male  singer  ;  Canta- 
iri'ce,  a  female  singer. 

Cantato'rium  (Lat.)  A  music-book, 
book  of  song  ;  a  service-book  of  the  R. 
C.  Church  containing  the  music  of  the 
Antiphonary  and  Gradual. 

Canterellan'do  (It.)  Singing  softly ; 
trilling,  warbling  ;  from  canterella're,  to 
hum,  etc. 

Can'ticle  (Lat.  can'ticum  ;  Ger.  Lob'ge- 
sang ;  Fr.  cantiqtie ;  It.  can'fico.)  I. 
One  of  the  non-metrical  hymns  of 
praise  and  jubilation  in  the  Bible. — 2. 
A  sacred  chant  based  on  or  similar  to 
I. — The  Fvangelical  ca.r\X\c\ts{Cantica 
majora)  of  both  the  Catholic  and  An- 
glican church  are  taken  from  the  Gos- 
pels, and  embrace  the  Magnificat 
("  Magnificat  anima  mea"),  the  Bene- 
dictus  ("  Benedictus  dominus  deus  !•• 


36 


CANTICO— CAPRICCIETTO. 


rael  "),  and  the  Nunc  dimittis  ("  Nunc 
dimittis  servum  tuum"). — The  7  Cantica 
minora  are  taken  from  various  parts  of 
the  Old  Testament. 

Can'tico  (It.)     See  Canlicum. 

Can'ticum  (Lat.)  i.  In  the  ancient 
Roman  drama,  any  passage  sung  by 
the  actors. — 2.  A  canticle. —  Can'tica 
gra'duttm,  the  GTa.dua.\. . .  Canticum  Can- 
tico'rum,  Solomon's  Song. 

Cantile'na  (It.,  "a  little  song";  Ger. 
Ciintih-ne ;  Fr.  cantilhte.)  I.  In  me- 
dieval music,  a  solfeggio  ;  also,  a  can- 
iits  firmus  as  used  in  church-music. — 

2.  Formerly,  the  higher  or  solo  part  of 
a  madrigal  ;  also,  a  small  cantata  or 
short  vocal  solo. — In  modern  usage, 
a  ballad  or  light  popular  song  ;  also,  in 
instrumental  music,  a  flowing  melodious 
phrase  of  a  vocal  character  ;  often  used 
to  define  a  smooth  and  voice-like  ren- 
dering of  slow  melodic  passages. 

Cantilenac'cia  (It.)    A  vile  song. 

Cantilena're(It.)  To  sing  in  a  low  voice. 

Cantilla'tio  (Lat.)     See  Intonation  i. 

Canti'no  (It.)     Sam.e  as  Chanterelle. 

Can'tio  (Lat.)     A  song,  an  air. 

Cantique  (Fr.)  A  canticle ;  also,  a 
choral,  or  hymn-tune. 

Can'to  (It.)  I.  The  soprano  ;  the  high- 
est vocal  or  instrumental  part. . .  Col  c. 
same  as  colla  parte. — 2.  See  Cantino. — 

3.  A  melody,  song,  chant. —  C.  a  cap- 
pella,  same  as  Cappella,  a.. .  C.  Ambro- 
sia'no,  Ambrosian  chant.  ..C.  armo'nico, 
a  part-song. .  .  C.  croma'tico,  a  melody 
in  chromatic  style. . .  C.  fer'mo,  see 
Cantus  firmus. .  .  C.  figura'to,  figurate 
melody. . .  C.  Gregoria'no,  Gregorian 
chant. . .  C.  pla'no,  plain  chant. . .  C. 
pri'mo,  first  soprano. .  .  C.  recitati'vo, 
recitative  or  declamatory  singing. . .  C. 
ripie'no,  see  Ripieno. . .  C.  secon'do,  sec- 
ond soprano. 

Can'tor  i.  (Lat.)    A  singer,  a  precentor. 

. .  C.  chora'lis,  chorus-master. — 2.  (Ger.) 

See  A'antor  {on  p.  238). 
Canto're  (It.)     A  singer  ;  a  chorister. 
Danto'ris  (Lat.,  "  of  the  cantor.")  Term 

designating  the  side  of  a  cathedral  choir 

on  which  the  precentor  (cantor)  sits,  i. 

e.,  on  the  left  or  north  side  of  a  person 

facing   the  altar  ;  opp.    to   the  deca'ni 

("of  the  dean")  side. 
Can'tus  (Lat.)     A  song,  a  melody. . .  C. 

corona' ttis,  see   C.   fractus. .  .  C.  du'rus. 


see  Dur. . .  C.  ecclesiastictis,  (a)  church- 
music  in  general ;  (1^)  plain  song  ;  {c) 
the  musical  rendering  of  a  liturgy,  opp. 
to  merely  reading  it . . .  C.  figura'lis, 
mensurable  music. .  .  C.  figtira'tus,  a 
melody  with  a  florid  or  figurate  contra- 
puntal accomp. .  .  C.  /ir'mus,  a  fixed  or 
given  melody  ;  (a)  plain  song  ;  (i)  in 
modern  counterpoint,  a  given  melody, 
usually  in  imitation  of  a,  to  which  other 
parts  are  to  be  set  according  to  rule.. . 
C.  frac'tus,  a  broken  melody;  a  term 
applied  to  a  tune  which  proceeded 
either  by  perfect  or  imperfect  conso- 
nances. When  accomp.  by  a  faux  bour- 
don, it  was  called  Cantus  corona'tus. 
[Stainer  and  Barrett.]..  .C.  Grego- 
ria'nus,  Gregorian  chant. .  .  C.  mensura- 
bilis,  see  N'otation,  §3.  ..€.  tnol'lis,  see 
Moll. .  .  C.  natura'lis,  see  Mutation. . . 
C.  pla'nus,  plain  song. 

Canun'.     See  Kanun. 

Canzo'ne  (It.,  also  Canzo'na.)  Origi- 
nally, a  folk-song  (Fr.  chanson) ;  later, 
a  secular  part-song  in  popular  style, 
hence  the  Canzo'ni  JVapolita'ni,  Sici- 
lia'ni,  etc. ;  many  such  songs  closely  re- 
semble the  madrigal.  The  name  was 
sometimes  applied  to  instrumental 
pieces  in  madrigal  style.  —  Canzonac'cia, 
a  vulgar  song. .  .  Canzonci'na,  Canzonet- 
ta,  a  little  song,  a  canzonet. . .  Canzonie'- 
re,  a  collection  of  lyric  poems  or  songs. 

Canzonet(te).  A  little  air  or  song  ;  a 
short  part-song  ;  a  madrigal. 

Capel'le  (Ger.)     See  A'. 

Ca'po  (It.)  The  head,  beginning..  .Da 
capo,  from  the  beginning. . .  Capolavoro, 
master-work. . .  Capo-orchestra,  conduc- 
tor. 

Capodastre  (Fr.)     See  Capotasio. 

Capota'sto  (It.;  also  capo  di  tasto, 
"  head  of  the  fingerboard.")  I.  The  nut 
of  stringed  instr.s  having  a  fingerboard. 
— 2.  A  piece  of  wood  or  ivory  which  can 
be  fastened  across  a  fretted  fingerboard, 
like  that  of  the  guitar,  to  raise  the  pitch 
of  all  the  strings  at  once. — Sometimes 
written,  in  Engl,  usage,  Capo  d'astro. 

Cappel'la  (It.,  "chapel.")  i.  A  choir. 
— 2.  An  orchestra.  (Incorrectly  writ- 
ten f(7/('//(j'.). .  .A  cappella,  vocal  chorus 
without  instrumental  accomp..  .Alia  c, 
((?)  same  as  a  cappella;  (b)  see  Alla- 
breve. .  .Da  c,  in  church-style,  i.  e.  is 
a  solemn  and  devotional  manner. 

Capricciet'to  (It.)    A  little  capriccio. 


CAPRICCIO— CAVATINA. 


37 


Capric'cio  (It.)  Title  frequently  given 
to  instrumental  pieces  of  free,  uncon- 
ventional form,  and  distinguished  by 
originality  in  harmony  and  rhythm. 
(Compare  Scherzo. ).  .  .A  capriccio,  at 
pleasure,  ad  X\h\K.ViKn.  ..Capricciosatnen' ie , 
capriciously,  fantastically... 6<7/;7V«yjc, 
capricious,  fantastic  ;  a  capriccio. 

Caprice  (Fr.)     Capriccio. 

Carat'tere  (It.)  Character,  dignity  ; 
style,  quality. 

Caressant  (Fr.)       \ 

Carezzan'do  (It.)    [  ^Y^' j"^'^''  '°°'''" 

Carezze'vole  (It.)   ) 

Carica'to  (It.)  Overloaded  as  to  graces, 
chromatics,  peculiarities  of  instrumen- 
tation, or  other  means  of  mus.  expres- 
sion. 

Carillon  (Fr.)  I.  A  set  of  bells  differing 
from  those  of  a  chime  in  being  fixed, 
and  in  their  greater  number  ;  played 
either  by  hand  (on  a  keyboard)  or 
machinery  (on  the  principle  of  the 
cylinder  in  the  barrel-organ). — 2.  A 
bell-piano,  with  pfte. -keyboard,  and 
bells  instead  of  strings. — 3.  A  melody 
to  be  played  on  l. — 4.  An  instrumental 
piece  imitating  the  peculiar  character 
of  carillon-music. — 5.  The  "clashing" 
(ringing  all  at  once)  of  several  large 
bells. — 6.  See  Glockenspiel. — 7.  A  mix- 
ture-stop yielding  the  3rd,  5th,  and  8th 
partials  of  the  fundamental  represented 
by  the  digital  pressed  (<:' — g'^-e^-c^). 

Carillonneur  (Fr.)  A  performer  on  the 
carillon. 

Carita'  (It.)  Lit.  "charity."  Same  as 
Affetto. 

Carmagnole  (Fr.)  A  dance  and  song 
in  great  vogue  during  the  Reign  of 
Terror  ;  it  dates  from  the  taking  (1792) 
of  Carmagnola,  a  town  in  Piedmont, 
though  the  connection  between  the  town 
and  the  air  is  not  clearly  established. 

Carol.  I.  A  circle-dance  (obs.) — 2.  A 
joyous  song  or  ballad,  particularly  one 
celebrating  Christmas. 

Caro'la  (It.)  A  circle-dance  similar  to 
the  carmagnole. 

Carrie  (Fr.)     A  breve. 

Cartelle  (Fr.)  A  large  leaf  (for  writing) 
of  prepared  ass's-skin,  on  which  the 
lines  of  the  staff  are  traced  to  jot  down 
notes  while  composing,  the  notes  being 
afterwards  erased  with  a  sponge.  All 
cartellfs  come  from  Rome  or  Naples. 
[Rousseau.] 


Ca'rynx  (Gk.)  An  ancient  Greek  trumpet. 
Cas'sa  (It.)     A  bass  drum.     (Also  cassa 

gran'de.).  .  .C.      arinonica,     body      (of 

violin,  etc.) 
Cassation'  (Ger.)     See  K. 

Castanets.  (It.  castagnet'te;  Fr.  casta- 
gnettes;  Ger.  Kastagnetten;  from  Span. 
castanetas.)  A  pair  of  small  concave 
pieces  of  hard  wood  or  ivory,  each  hav- 
ing a  projection  on  one  side,  by  means 
of  which  they  are  fastened  together 
with  a  cord  long  enough  also  to  pass 
over  the  performer's  thumb,  or  thumb 
and  forefinger.  Generally  used  (espe- 
cially in  Spain)  by  dancers  as  a  dance- 
accomp.  They  yield  no  mus.  tone, 
but  merely  a  hollow  click  or  rattle. 

Castra'to  (It.)  A  eunuch  (adult  male 
singer  with  soprano  or  alto  voice). 

Catalectic.  Lacking  part  of  the  last 
foot  ;  e.  g.  the  second  of  the  following 
lines  is  catalectic  : 

Lives  of  great  men  all  remind  us 
We  can  make  our  lives  sublime. 

Catch.  Originally,  an  unaccomp.  round 
for  3  or  more  voices,  written  as  a  con- 
tinuous melody,  and  not  in  score  ;  the 
"  catch  "was  for  each  succeeding  singer 
to  take  up  or  catch  his  part  at  the  right 
time.  Later,  a  new  element  was  intro- 
duced, and  words  were  selected  in  such 
sequence  that  it  was  possible,  either  by 
mispronunciation  or  by  inter\veaving 
the  words  and  phrases  apportioned  to 
the  different  voices,  to  produce  the 
most  ludicrous  and  comical  effects. 

Cate'na  di  tril'li  (It.)    A  chain  of  trills. 

Catgut.  Popular  term  for  Gu(strings{(\.\.) 

Catlings.  Lute-strings  of  the  smallest  size. 

Catti'vo  (It.,  "bad.")  Caltivo  tempo, 
the  weak  beat. 

Cau'da  (Lat.,  "tail.")  The  stem  of  a 
note. 

Cavallet'to  (It.,  "little  horse.")  i.  A 
bridge  (usually  po)iticello). — 2.  The 
break  in  the  voice. 

Cavalquet  (Fr.)  A  piece  played  by  a 
cavalry  trumpeter-corps  when  approach- 
ing or  marching  through  a  town. 

Cava'ta  (It.)  i.  Production  of  tone. — ■ 
2.  Cavatina. 

Cavati'na  (It.)  i.  A  short  song  of  any 
description. — 2.  A  vocal  air,  shorter 
and  simpler  than  the  aria,  and  in  one 
division,   without   Da  capo. — 3.    Title 


ii 


C  BARRE— CHAMBER-MUSIC. 


gfiven  by  Beethoven  to  the  2nd  move- 
ment of  his  i5|7  Quartet. 

C  barr6  (Fr.)  The  "barred  C"  ((^), 
indicating  alia  breve  time. 

C-Clef.     See  C/e/. 

Cebell.  A  theme  for  variation  on  the 
lute  or  violin,  in  4-4  time  and  4-measure 
phrases,  characterized  by  the  alternation 
of  very  high  and  low  notes  in  the  suc- 
cessive strains.     (Obs.) 

C^ciiium  (Fr.)  A  free-reed  keyboard 
instr.  inv.  by  Quantin  de  Crousard,  ex- 
hibited at  Paris  in  1867.  It  has  the 
shape  and  nearly  the  size  of  the  'cello, 
and  is  held  in  the  same  way.  The  keys 
are  pressed  by  the  left  hand,  while  the 
right  operates  the  bellows  by  means  of 
a  handle  like  a  bow.  Compass  about  5 
octaves  ;  tone  sweet  and  sonorous. 

C^dez  (Fr.)     Go  slower  ;  7-allentate. 

C^lamustel  (Fr.)  A  kind  of  reed-organ 
having  fundamental  stops  similar  to 
those  of  the  harmonium,  and  various 
additional  effects,  such  as  bells,  harp, 
echo,  thunder,  dove-  and  cuckoo-notes, 
etc. 

CeTere  (It.)  Rapid,  %\V\l\...  .Cekrita', 
celerity,  rapidity ;  con  cekrita,  with 
celerity,  etc. 

C61este  (Fr.,  "celestial,  divine  ".) /c« 
c,  pcJale  c,  organ-stops  producing  a 
sweet,  veiled  tone  ;  Fcdale  c.  is  also  a 
pedal-mechanism  on  the  pfte.  for  ob- 
taining a  sweet,  veiled  tone.. .  I'oix  c, 
the  organ-stop  vox  angelica, 

'CeIlo,-i.      Abbr.  of  Violoncello,-!. 

Cembal  d'amour  (Fr.)  A  species  of 
clavichord,  twice  as  long  as  the  ordi- 
nary instr.s,  the  strings  of  which  were 
struck  in  the  middle  by  the  tangents, 
the  vibration  of  both  sections  q/  the 
string  thus  yielding  a  double  volume 
of  tone  ;  inv.  by  G.  Silbermann,  ist 
half  of  1 8th  century. 

Cembalist,  (It.  cembali'sta.)  A  player 
on  the  cembalo  (either  harpsichord  or 
pfte.) 

Cem'balo  (It.)  i.  Originally,  a  dul- 
cimer ;  a  general  name  for  various 
instr.s  having  several  wire  strings  struck 
by  hammers. — 2.  A  harpsichord. — 3.  A 
pianoforte..  .A  cembalo,  for  harpsichord 
(or  pfte.).. .  Tuito  il  cembalo,  see  Tiitte 
corde..  .Cembalo  onuicor'do,  a  keyboard 
stringed  mstr.  inv.  by  Nigetti  about 
1650  ;  also  called  Proteus. 


Cembanel'Ia,    Cennamel'la    (It.)      A 

pipe  or  flute. 

Cen'to  (It.),  Centon  (Fr.)  i.  The  anti- 
phonary  of  Pope  Gregory  the  Great. — 2. 
(Also  cento' ne,  "a  patchwork".)  A 
medley  of  extracts  from  the  works  of  one 
composer,  worked  up  into  an  opera  or 
similar  composition.  {Pasticcio.)  Hence 
the  verb  centoniza'7-e  (Fr.  centoniser), 
meaning  "  to  put  together." 

Cercar'  la  no'ta  (It.)  To  seek  the  note  ; 
i.  e.  to  sing  in  the  same  breath  the  tone 
belonging  to  the  next  syllable  like  a 
light  grace-note,  before  its  proper  time 
of  entrance,  in  portamento  style  ;  e.g. 
written  :  sung : 


\^ 


^^^-~ 


Cervalet',  Cervelat'.  Species  of  clari- 
net  with  bassoon-like  tone  (obs.) 

Ces  (Ger.)     C\)..  .Ces'cs,  C^b- 

Cesu'ra,  Caesu'ra.  A  term  in  prosody 
sometimes  usetl  in  music  to  designate 
the  dividing  line  between  two  melodic 
and  rhythmic  phrases  within  a  period  ; 
called  masculine  ox  feminine  according 
as  it  occurs  after  a  strong  or  a  jvectk 
beat. 

Ce'tera  or  Ce'tra  (It.)  A  cither... C 
tede'sca,^'  German  cither,"  a  lo-stringed 
instr.  of  the  lute  class. 

Chaconne',  Chacone'.  (It.ciacco'na; 
Span,  chaco'na ;  Fr.  chaconne.)  I. 
Originally,  a  Spanish  or  Moorish  (pos- 
sibly Italian)  dance  or  sarabande. — 2. 
An  instrumental  composition  consisting 
of  a  series  of  variations,  above  a  ground 
bass  not  over  8  measures  in  length,  in 
3-4  time  and  slow  tempo.  (See  Passa- 
caglia.) 

Chair-organ.     Variant  of  Choir-organ. 

Chalameau.     Variant  of  Chalumeau. 

Chalil.  Ancient  Hebrew  instr.,  either  \ 
flute  (flageolet)  or  reed-pipe. 

Chalumeau  (Fr. ;  Engl,  chalameau; 
Ger.  Chaliimau,  Chalamaus ;  It.  scicu 
lumb,  salmb.')  I.  See  Shawm,  Clari- 
net.— 2.  The  "chalumeau"  register 
is  the  lowest  register  of  the  clarinet 
and  basset-horn ;  as  a  direction  in 
clarinet-playing,  chalumeau  signifies 
"play  an  octave  lower." — 3.  (In 
French  usage.)  The  chanter  of  the  bag- 
pipe ;  also,  occasional  for  Pan's-pipe. 

Chamber-music.    Vor-al  or  instrumental 


CHAMBER-ORGAN— CHARACTER. 


39 


music  suitable  for  performance  in  a 
room  or  small  hall  ;  opp.  to  concert- 
music,  church-music,  operatic  music, 
etc. ;  ordinarily  applied  to  quartets  and 
similar  concerted  pieces  for  solo  instr.s. 

Chamber-organ,     A  cabinet  organ. 

Change.  I.  In  harmony,  see  Modula- 
tion.— 2.  In  the  voice,  see  Mutation. 
— 3.  Any  melodic  phrase  or  figure 
executed  on  a  chime  of  bells. 

Changer  de  jeu  (Fr.)  To  change  the 
stops  of  an  organ,  etc. 

Change-ringing.  The  art  and  practice 
of  ringing  a  peal  of  bells  in  varying  and 
systematic  order. 

Changing-chord.  A  chord  containing 
a  number  of  tones  ("  changing-notes") 
dissonant  to  the  bass,  and  entering  on 
the  strong  beat. .  .  ChaHghig-note.  (Ger. 
Wech' selnote,  Diirch' gangston^  durch'- 
gehende  Note  ;  Fr.  note  d'appogiattire  ; 
It.  fiota  cambia'ta.)  A  dissonant  note 
(tone)  entering  on  the  strong  beat  and 
generally  progressing  by  a  step  to  a 
consonance  within  the  same  chord ; 
sometimes  by  a  skip  to  a  chord-note  or 
note  belonging  to  another  chord. — A 
passing-note  differs  from  a  changing- 
note  by  entering  on  a  weak  beat. 

(>  Chanson  (Fr.)  A  song  ;  originally,  a 
ballad-like  song  ;  now  rather  a  vocal 
solo  (Z/(\/)  with  pfte.-accomp..  .  C/z(7«- 
sonnette,  a  short  chanson.     {Canzonet.) 

Chansonnier  (Fr.)  i.  A  composer  of 
songs. — 2.  A  book  or  collection  of 
songs. 

Chant.  I.  A  Gregorian  melody  repeated 
with  the  several  verses  of  a  prose 
text,  a  number  of  syllables  being  in- 
toned on  each  reciting-note ;  its  5 
divisions  are :  (i)  the  intonation;  (2) 
the  first  dominant,  or  reciting-note  ;  (3) 
the  mediation  ;  (4)  the  second  domi- 
nant or  reciting-note  ;  (5)  the  cadence. 
— 2.  A  melody  similar  in  style  to  the 
above,  and  non-rhythmical  ;  a  tone  ; 
called  cant  us  firm  us  in  contrapuntal 
composition. — 3.  The  so-called  An- 
glican chanty  that  employed  in  chanting 
the  canticles  and  Psalms  ;  it  consists  of 
7  measures,  harmonized,  the  lime-value 
of  the  single  note  constituting  the  first 
and  fourth  measures  being  expanded  or 
contracted  to  fit  the  words,  whereas  the 
others  are  sung  in  strict  time.  It  has  2 
divisions  of  3  and  4  measures  respect- 
ively, each  commencing  on  a  reciting- 
note  and  ending  with  a  cadence  :  the  first 


cadence  is  called  the  niediation,  and  the 
arrangement  of  the  words  to  the  music 
is  ca.Ued  pointing.  Any  short  piece  of 
like  character  is  also  called  a  chant. .. 
Double  chant,  one  twice  as  long  as  the 
usual  chant,  having  14  measures,  4 
reciting-notes,  and  4  cadences.. .  Change- 
able chant,  one  that  can  be  sung  either 
in  major  or  rmViOX. .  .Free  chant,  one 
having  but  2  chords  to  each  half-verse, 
for  the  declamatory  singing  of  the  can- 
ticles, etc. 

Chant  (Fr.)  Song;  singing;  melody, 
tune  ;  voice  (i.  e.  vocal  part  in  contra- 
distinction to  the  accomp.)..  .  C/^.  com^' 
pose',  plain  song. .  .  Ch.  d'e'glise  (or 
gregorien),  Gregorian  chant. ..C/^.  en 
ison,  or  ch.  /gal,  a  chant  sung  on  only 
2  tones,  thus  having  but  one  interval.. . 
Ch.  figure',  figurate  counterpoint. ..  C^. 
royal, modQ  (ton)  in  which  the  prayer 
for  the  sovereign  is  chanted.  .  .  Ch.  sur 
le  livre,  an  extemporized  counterpoint 
sung  by  one  body  of  singers  to  the 
plain-song  melody  (a  cantus  firmus) 
sung  by  the  others. 

Chanter.  The  melody-pipe  of  the  bag- 
pipe. 

Chanter  (Fr.)  To  sing. ..O.  a  livre 
oitvert,  to  sing  at  sight. 

Chanterelle  (Fr.)  The  highest  string 
of  an  instr.  belonging  to  the  violin  or 
lute  family,  especially  the  E-string  of 
the  violin  ;  the  soprano  string. 

Chanteur  (Fr.)  A  male  singer. ..  C/zrt«- 
tcuse,  a  female  singer. 

Chantonner  (Fr.)    Same  as  Canterellare. 

Chantre  (Fr.)  Leader  of  a  choir... 
Grand  r/;.,  precentor,  c^k'oXox..  .  Second 
ch.,  choir-singer,  chorister,  choir-boy. 

Chapeau  (Fr.)  A  tie  ■^  (usually  liai» 
son)..  .Ch.  chinois,  a  crescent. 

Chapel.  A  company  of  musicians  at- 
tached to  the  establishment  of  any  dis* 
tinguished  personage.     (See  Kapelle.) 

Character,  individual,  of  the  several 
keys. — Theoretically,  each  major  or 
minor  key  is  precisely  like  every  other 
major  or  minor  key,  tlie  intervals  in  all 
being  precisely  similar.  Practically, 
there  subsist  recognized  differences, 
due  (i)  to  the  system  of  equal  tempera- 
ment as  applied  to  instruments  with 
keyboard  or  frets,  and  (2)  to  a  more  or 
less  perceptible  tendency  towards  "  forc- 
ing up  "  the  sharp  keys  (thus  lending 
them  a  brighter  and  intenser  character), 
and  towards  "letting  down  "  or  relax. 


40 


CHARACTERISTIC  PIECE— CHIESA. 


ing  the  flat  keys  (rendering  them  darker 
or,  as  it  \s-ere,  lending  them  a  minor 
character).  Theoreticians  seem  dis- 
posed to  deny  in  toto  the  possibility  of 
characteristic  diflerences  ;  while  many 
highly  cultivated  practical  musicians 
(not  to  speak  of  jesthetic  enthusiasts  of 
all  stripes)  are  equally  positive  that 
such  differences  exist. 

Characteristic  piece.  A  character- 
piece  ;  one  depicting  a  definite  mood, 
impression,  scene,  or  event. .  .  Character- 
istic tone,  (i)  the  leading-tone  ;  (2)  that 
tone  in  any  key  which  specially  distin- 
guishes it  from  nearly  related  keys,  as 
F'j,  in  the  key  of  (7,  distinguishing  it 
from  (T-major. 

Characters.     See  Signs. 

Charak'terstimme  (Ger.)  Solo-stop  (or- 
gan)., .  Charak'tcr stuck,  a  characteristic 
piece. 

Charivari  (Fr.)  A  callithumpian  con- 
cert. 

Chasse,  a  la  (Fr.)     Alia  caccia. 

Chef  d'attaque  (Fr.)  The  leader  of  an 
orchestra,  or  of  any  division  of  a  chorus. 
. .  Chef  iforchestre,  conductor  of  an 
orchestra.  .  .  Ch.  du  chant,  ste Repetiior. 

Chelys  (Gk.,  "tortoise.")  i.  The  lyre 
of  Mercury,  fabled  to  have  been  a  tor- 
toise-shell with  strings  stretched  over 
its  hollow. — 2.  Name  for  both  the 
bass  viol  and  division  viol  in  the  l6th 
and  17th  centuries. 

Cheng.  The  Chinese  mouth-organ,  the 
wind-chest  of  which  is  formed  by  a 
gourd  into  which  the  air  is  blown 
through  a  curving  tube,  and  bears  on 
its  upper  side  from  12  to  24  free-reed 
pipes.  Its  introduction  into  Europe 
led  to  the  invention  of  the  accordion 
and  harmonium. 

Chest  of  viols.  A  set  of  viols,  i.  e.  2 
trebles,  2  tenors,  and  2  basses,  which 
formed  the  nucleus  of  the  17th  century 
orchestra.     (Also  Consort  of  viols.) 

Chest-register.  The  lower  register  of 
the  male  or  female  voice,  the  tones  of 
which  produce  sympathetic  vibration  in 
the  chest. .  .  Chest-tone,  chest-voice,  a 
vocal  tone  possessing  the  quality  of  the 
chest-register ;  opp.  to  Head-register, 
head-tone. 

Chevalet  (Fr.)     Bridge. 

Cheville  (Fr.)  Vtg..  .Cheviller,  peg- 
box. 


Chevrotement  (Fr.)  ?,ef^Bockstriller., . 
Chcvroter,  to  execute  a  che^'rotetnent, 

Chiari'na  (It.)     A  clarion. 

Chia'ro,-a  (It.)  Clear,  pure. .  .  O/aro- 
men'te,  clearly,  limpidly,  distinctly. . . 
Chiarez'za,  clearness,  etc. 

Chia've  (It.)  i.  A  clef. — 2.  Key  of  an 
instr. — 3.     Tuning-key. 

Chiavet'te,  or  Chiavi  trasporta'ti 
(It.,"  transposed  clefs.")  A  system  of 
transposing  clefs,  freely  used  in  the 
i6th  century.  As  it  was  then  a  rule, 
but  seldom  infringed,  that  no  vocal  part 
should  overstep  the  limits  of  the  5-line 
staff,  and  the  modern  system  of  chro- 
matic transposition  being  undeveloped, 
composers  often  employed,  in  the  nota- 
tion of  the  various  parts,  clefs  differing 
from  those  customarily  used  for  the 
several  voices,  these  unusual  clefs  indi- 
cating to  the  practised  singers  a  trans- 
position of  their  respective  parts  to  a 
higher  or  lower  pitch  : 

I.   High  chiavette. 
Discant.     Alto.     Tenor.   Bass. 


i 


2.   Ordinary  clefs. 


Wl 


:«f. 


tt 


3.   Low  chiavette. 

m 


^^=p; 


1^ 


The  high  chiavette  had  the  effect  of 
transposing  the  parts  (and  consequently  . 
the  entire  composition)  into  a  key  a 
major  or  minor  third  higher,  i.  e.  their 
effect  was  equivalent  to  writing  j_/7(?/j- 
or  4  sharps  in  a  signature  headed  by 
the  ordinary  clef  ;  the  lozu  chiavette  had 
a  precisely  opposite  effect,  as  if  j 
sharps  or  4  flats  had  been  written  after 
the  ordinary  clef. — Though  not  recog- 
nized as  such,  this  system  was  tanta- 
mount to  a  pretty  free  use  of  the  trans- 
posing scales. 

Chi'ca.  An  old  Spanish  dance,  modifi- 
cations of  which  are  the  Fandango, 
Chaconne,  Cachucha,  Bolero,  and  pos- 
sibly the  English  Jig. 

Chie'sa  (It.)  Church. . .  Concer'to  da  ch., 
a  sacred  concert. .  .  Sonata  da  ch.,  a 
sacred  sonata. ../?«  chiesa,  for  the 
church,  in  church-style. 


CHIFFRE— CHORD. 


41 


Chiffre  (Fr.)  A  figure,  as  in  thorough- 
bass. 

Chifonie  (Fr.)  Old  name  of  the  hurdy- 
gurdy. 

Chikara.  A  Hindu  violin  having  4  or  5 
horsehair  strings. 

Chime,  i.  A  set  of  from  5  to  12  bells 
tuned  to  the  tones  of  the  scale,  and  em- 
ployed in  playing  the  chimes  by  swing- 
ing either  the  bells  themselves,  or  clap- 
pers hung  within  them. — 2.  A  set  of 
bells  and  strikers  (hammers)  in  a  mus- 
ical box,  organ,  etc.     (See   Caril/on.) 

Chiming-machine.  A  revolving  drum 
with  pins  so  set  as  to  pull  the  ropes  of 
a  chime  of  bells  and  ring  the  chime 
mechanically. 

Chirog-ym'nast.  An  apparatus  for 
exercising  the  hands  of  players  on  the 
pfte.  or  organ,  consisting  of  a  set  of 
rings  attached  by  springs  to  a  cross-bar. 

Chi'roplast,  (Ger.  Hand'leiter,  i.  e. 
hand-guide.)  An  apparatus  inv.  by 
Logier  about  1814,  consisting  of  2 
smooth  wooden  rails  attached  in  front 
of  and  parallel  with  the  pfte. -keyboard, 
and  a  pair  of  open  gloves,  the  whole 
serving  to  hold  both  hands  in  the  proper 
position  for  playing,  by  hindering  the 
wrist  from  sinking  and  obliging  the 
fingers  to  strike  vertically.  Simplified 
later  by  Kalkbrenner. — Termed  by 
Liszt  "  ass's  guide  "  {guide-dne)  for  the 
French  "hand-guide"  {gtiide-viain). 

Chitar'ra(It.)  A  guitar.— The  Italian 
guitar,  like  the  English  cither,  was 
strung  with  wire  instead  of  gut  strings. 
.  .  Ck.  colfarco,  a  bow-guitar. .  .  Chitar- 
ri'na,  a  small  Neapolitan  guitar. .  .  Chi- 
tarro'ne,  "great  guitar;"  a  kind  of 
theorbo  differing  from  the  arciliuto  in 
having  a  longer  neck,  a  wider  space  be- 
tween the  2  sets  of  pegs,  and  a  smaller 
body.  It  had  20  wire  strings,  12  being 
over  the  fingerboard.     (See  Lute.) 

Chiu'so,-a  (It.)  Closed  ;  hidden. . .  Ca'- 
none  chitiso,  see  Canone. . .  Con  bocca 
ckiusa,  with  closed  mouth  (comp. 
Brummstim  men). 

ChcEur  (Fr.  [ch  like  k.])  Choir,  chorus. 
.  .A  grand cha'ur,  for  full  chorus. 

Choice-note.  An  alternative  note  written 
above  or  below  another  in  a  vocal  part, 
which  the  singer  may  take  in  preference 
if  he  choose. 

Choir.  (Ger.  Chor;  Fr.  chxur;  It.  co'ro?) 
I.  A  company  of  singers,  especially  in 


a  church  ;  hence,  the  part  of  the  church 
which  they  occupy. — 2.  A  choral  soci- 
ety.—3.  (In  the  Anglican  Church.)  A 
body  of  officials  whose  function  is  the 
performance  of  the  daily  choral  service, 
sitting  divided  on  the  decani  and  cati- 
toris  sides  of  the  chancel. — 4.  A  sub- 
division of  a  chorus,  e.  g.  the  1st  and 
2nd  choirs  (coro  primo  e  secondo)  in  8- 
part  music. — 5.  Same  as  ^««(/ 3. 

Choir-organ.  (See  Organ.).  .  .Choir- 
pitch,  (see  Chorion). 

Chor  (Ger.)  i.  Chorus  ;  choir. — 2.  On 
the  pfte.,  a  unison  (the  2  or  3  strings 
belonging  to  one  tone). — 3.  On  the 
organ,  those  pipes  belonging  to  a  mix- 
ture which  are  sounded  by  one  key. — 4. 
A  combination  of  instr.s  of  the  same 
family,  but  different  pitch,  e.  g.  Troin- 
pctenchor. 

Chora'gus,  Chore'gus(Gk.)  The  lead- 
er or  superintendent  of  the  ancient 
dramatic  chorus.  Hence,  in  Oxford 
(England),  the  title  of  a  functionary 
who  has  charge  of  the  mus.  services  in 
church. 

Cho'ral  {adj.)  Relating  or  pertaining  to 
a  chorus  or  vocal  concerted  music. . . 
Choral  notes,  see  Note. .  .Choral  service, 
a  church-service  consisting  chiefly  of 
music  by  the  choir. 

Cho'ral  {noun.)  1.  (Ger.  Choral';  Fr. 
ca>itique,  plain-chant;  It.  can'tico,  can- 
zo'ne  sa'cra.)  A  hymn-tune  of  the 
early  German  Protestant  Church  ;  also, 
a  hymn-tune  similar  in  style  to  the 
above.  (Sometimes  spelled  Chorale.) 
— 2.  (In  the  R.  C.  Church.)  Any  part 
of  the  service  sung  by  the  choir. 

Chora'leon.     See  yEolomelodicon. 

Chora'liter     (Lat.)      1  In  the  style  of  a 

Choral'massig(Ger.)  )      choral. 

Choral'note  (Ger.)    A  choral  note. 

Chor'buch  (Ger.)     See  Part-boo/:  2. 

Chord. I.(Ger.  Akkord' ;  Fr.  accord;  It. 
acco?-'do.)  In  a  general  sense,  the  har- 
mony of  2  or  more  tones  of  different 
pitch  produced  simultaneously. — As  a 
technical  term,  a  combination  of  from 
3  to  5  different  tones,  formed  by  erect- 
ing, upon  a  fundamental  tone  or  root, 
an  ascending  series  of  diatonic  thirds. 
A  3-tone  chord  is  called  a  triad,  a  4- 
tone  chord  a  chord  of  the  yth,  and  a 
5-tone  chord  a  chord  of  the  qth.  The 
term  chord  is  often  applied  specifically 
to   the    triads,  as   major  chord,   minor 


42 


CHORD. 


chord,  fundamental  chord,  etc. — A  View 
of  the  fundamental  diatonic  chords  fol- 
lows, with  the  ordinary  figuring  in 
thorough-bass  and  theory : 


I      II"   III'     IV     V     VI    vii" 
Chords  of  the  Seventh  in  Major. 


|ai^^«* 


C'.         I,      11:      nil     IV7   V7      VI7  VII^ 
Chords  of  the  Seventh  in  Minor. 
7^        7      ;n         '1       ,'(1       7 


c:    I7     II?    IIi;  IV7  V7    VI7VI1? 
Chords  of  the  Ninth  : 


When  the  root  of  a  chord  is  the  lowest 
tone,  the  chord  is-  said  to  be  in  the 
fundamental pflsitio7i;  when  some  other 
tone  is  the  lowest,  the  chord  is  inverted. 
Each  triad  has  2  inversions,  and  each 
chord  of  the  7th  has  3.  The  inversions 
are  limited  neither  to  the  given  number 
of  tones,  nor  to  any  particular  order  of 
the  intervals  above  the  bass  ;  e.  g.  a 
chord  of  the  sixth  may  be  written 


S==if: 


=3?=5F 


6         6         6         6         6         6         6  etc. 


m 


<&—f — f- 


-W       0      'M^ 


C:     I       I       III        II 

that  is,  it  remains  a  chord  of  the  sixth 
so  long  as  the  third  of  the  triad  remains 
the  loioest  tone,  above  which  the  (octave 
of  the)    root   forms    the  interval  of    a 


sixth.      The  Arabic   numerals   over 

the  bass  form  what  is  called  thorough- 
bass figuring  ;  each  figure  marks  the 
interval  of  some  tone  above  the  bass  (or 
lowest  tone),  the  order  of  the  figures 
depending,  not  upon  the  order  of  the 
notes,  but  upon  the  width  of  the  inter- 
vals, the  widest  interval  always  being 
written  at  the  top.  The  simple  figures 
invariably  call  for  the  diatonic  intervals 
as  established  by  the  key-signature.  O 
calls  for  tasto  solo  (see  Tasto) ;  2  or  | 
or  4,  for  the  chord  of  the  second  (in  full, 
chord  of  the  second,  fourth  and  sixth)  ; 
3  or  I  or  6,  ((?)  for  the  simple  triad,  (l>) 
3  alone  over  the  first  bass  note  signifies 
that  the  soprano  takes  the  third  of  the 
root ;  i  or  4  calls  for  the  chord  of  the 
third  and  fourth  (and  sixth)  ;  5,  for  the 
fifth  in  the  soprano;  \,  for  the  simple 
triad  ;  6,  for  the  chord  of  the  sixth  ;  4, 
for  the  chord  of  the  fourth  and  sixth  ; 

\,  or  B ,  for  that  of  the  fifth  and  sixth  ; 
6)3' 

7  (b),  for  the  chord  of  the  seventh  ;  8, 
for  the  octave  in  the  soprano,  s,  for  the 
simple  triad  ;  9,  (7  or  «,  according  as 
the  fifth  or  seventh  is  dropped),  for  the 
chord  of  the  ninth.  ^^  y  }  \  were  for- 
merly used  to  show  that  the  tenth  and 
octave,  eleventh  and  ninth,  etc.  of  the 
bass  note  were  to  be  taken  instead  of 
the  third  and  prime,  fourth  and  second, 
etc.  Where  there  is  a  choice,  the 
simpler  figuring  is  preferable,  unless 
some  interval  is  chromatically  altered. 
A  if,  t>,  Q,  y.  ,  ox  \)\)  alone  over  a  bass 
note  signifies  that  the  third\n  the  chord 
is  correspondingly  altered  chromatic- 
ally. A  crossed  figure  {^,  ^,  ^  etc.) 
indicates  that  the  interval  is  sharped. 
A  dash  (-)  after  a  figure  prolongs  the 
tone  into  the  next  chord. — The  Roman 
numerals  under  the  bass  form  no  part 
of  the  thorough-bass  figuring  ;  they  in- 
dicate on  what  degree  of  the  scale  the 
given  chord  (i.  e.  the  root  of  the  chord) 
has  its  seat,  the  key  or  scale  itself  being 
marked  by  a  capital  letter  for  major  and 
a  small  letter  for  minor.  A  large 
numeral  indicates  a  triad  with  major 
third  ;  a  small  numeral,  a  triad  with 
minor  third  ;  with  an  accent  (III'),  the 
augmented  fifth  ;  with  a  cipher  (vii"), 
the  diminished  fifth  ;  with  a  7  (V7),  the 
chord  of  the  seventh.  [This  is  the 
system  generally  accepted  ;  its  prime 
defect   (clumsiness  in  following  chro- 


CHORDA— CHROMATIC. 


43 


matic  alterations,  and  consequent  in- 
ability to  cope  with  the  exigencies  of  free 
tonality)  is  felt  by  all  theorists  ;  Ja- 
dassohn solves  the  problem  empirically 
by  stretching  his  highly  elas- 
tic theory  of  altered  chords  to 
the  utmost  ; — e.  g.  he  writes  «^  C :  IV 
(=y"^-(7r>-c  as  the  major  triad  on  the 
4th  degree  of  C-major  !) — Riemaim,  on 
the  other  hand,  has  devised  an  entirely 
new  system,  explained  under  art. 
Pkone.^  (Alsocomp.  Thorough-bass.) 
Altered  chord,  a  chord  chromatically 
changed,  but  not  effecting  a  modula- 
tion ;  the  commonest  altered  chords 
are  the  triads  on  the  ist,  2nd,  4th  and 
5th  degrees  in  major  and  on  the  4th 
and  6th  degrees  in  minor  (with  al- 
tered fifth) ;  on  the  2nd  degree  in 
major  and  6th  in  minor  (with  altered 
root) ;  the  chords  of  the  7th  on  the  same 
degrees,  excepting  the  6th  in  minor 
(with  altered  fifth),  and  on  the  7th  de- 
gree in  major  and  2nd  in  minor  (with 
altered  root). .  .Anomalous  ch.,  see  Ano- 
maly.. .Augmented  ch.,  one  having  ma- 
jor third  and  augm.  fifth. .  .Broken  ch., 
an  arpeggio. .  .  Chromatic  ch.,  one  chro- 
matically altered.  .  .  Cotnmon  ch.,  a  triad 
peculiar  to  any  given  scsX^..  .Deriva- 
tive ch.,  one  derived  by  inversion  from 
another. .  .Diatonic  ch.,  a  common 
chord. .  .Diminished  ch.,  one  having 
both  5th  and  7th  diminished. .. /)(»;«/- 
nant  ch.,  ((7)the  dom.  triad,  (b)  thedom. 
ch.  of  the  7th. .  .  Doubtful  or  Equivocal 
ch.,  a  dissonant  chord  of  uncertain  reso- 
lution, like  that  of  the  dimin.  7th, 
which  belongs  to  various  keys,  and  may 
resolve  to  any  one  of  th&m. .  .Fttnda- 
mental  chord,  (a)  one  in  the  funda- 
mental position,  i.  e.  with  the  root  low- 
est ;  (b)  the  tonic  triad  ;  (c)  one  of  the 
3  principal  triads  of  a  key  (tonic,  domi- 
nant, and  subdominant) ;  (</)  a  common 
chord..  .Imperfect  or  incomplete  ch.,  a 
chord,  one  of  whose  tones  is  omitted. 
.  .Inverted  ch.,  see  Inversion. .  .lead- 
ing ch.,  the  dominant  ch.  of  the  7th. 
.  .Major,  minor  ch.,  see  Major,  Alinor. 
.  .Related  or  relative  ch.,  see  Relation. 
. .  Seventh-chord,  ch.  of  the  7th. . .  Solid 
eh.,  one  whose  tones  are  produced 
simultaneously  ;  opp.  to  broken. . .  Tran- 
sient ch.,  one  used  in  modulating  from 
one  key  to  another,  and  foreign  to  both. 
— 2.  A  string. 
Chor'da(Lat.)  i.  A  string. — 2.  Atone 
or  chord..  .  Ch.  characteri'  stica,  a  chord 
of  the  "th  containing  a  leading-note. . . 


ChordcB  essentia'les,  the  key-note  with 
its  third  and  fifth,  the  tonic  triad. 

Chordaulo'dion,  or  Chordomelo'dion. 
A  kind  of  automatic  barrel-organ  hav- 
ing pipes  and  strings  combined  ;  inv. 
by  Kaufmann  of  Dresden,  in  181 2. 

Chordom'eter.     A  string-gauge. 

Cho'ree,  Chore'us.  A  metrical  foot 
identical  with  the  trochee. 

Cho'riamb,  Choriam'bus.  A  metrical 
foot  having  2  short  syllables  between  2 
long  ones,  the  ictus  being  on  either  of 
the  latter(— ^---^ — ,  or — ■w^-^). 

Chor'ister.  i.  A  singer  in  a  choir. — 2. 
A  precentor. 

Chor'ton  (Ger.)  "  Choir-pitch,"  i.  e.  the 
pitch  at  which  church-choirs  formerly 
sang  in  Germany,  as  set  by  tne  organs. 
(See  Pitch,  absolute.) 

Cho'rus.  (Ger.  Chor;  Fr.  cha-ur;  It. 
co'ro.)  I.  A  company  of  singers. — 2. 
In  an  opera,  oratorio,  etc.,  the  main 
body  of  singers,  as  distinguished  from 
the  soloists  and  orchestra. — 3.  A  refrain. 
— 4.  A  composition,  or  any  part  of  one, 
oftenest  in  4  parts,  intended  to  be  sung 
in  chorus  ;  a  double  chorus  has  8  parts. 
— 5.  The  compound  stops  of  an  organ. 
— 6  (obs.)  The  bagpipe  ;  the  drone  of 
the  bagpipe,  or  the  free  sympathetic 
strings  of  the  crowd. 

Chorus-master.  The  leading  singer  in 
a  chorus. 

Chri'ste  ele'ison  (Gk.)  Part  of  the 
Kyrie  in  the  Mass  (see  Mass). 

Chro'ma  (Gk.,  "color".)  i.  In  Greek 
music,  a  chromatic  modification  of  the 
tetrachord. — 2.  A  sign  altering  the 
pitch  of  a  note  by  a  semitone  (jj  or  [7)  ; 
also,  a  chromatic  semitone. — 3.  An 
eighth-note  or  quaver  ( j  );  ch.  simplex, 
(a)  an  eighth-note,  (b)  a  Jf  or  (7  ;  c/i. 
duplex,  (a)  a  i6th-note  ( J^),  (b)  a  x  of 
[f\). — 4.  A  semitone. 

Chromat'ic.  (Ger.  chroma'tisch,  Fr. 
chromatique;  It.  croma'tico.)  Relating 
to  tones  foreign  to  a  given  key  or  chord  ; 
opp.  to  diatottic. .  .  Chr.  alteration,  rais- 
ing or  lowering  the  pitch  of  a  note  by 
means  of  a  chromatic  sign  ;  of  a  chord, 
or  melody,  the  introduction  into  it  of 
one  or  more  tones  foreign  to  the  ruling 
diatonic  key,  but  not  effecting  a  modu- 
lation (then  sometimes  called  a  chro- 
matic chord  or  melody). . .  Chr.  harmony, 
a  succession  of  chromatically  altered 
chords. . .  Chr,  instrument,  one  produc- 


44 


CHROMATIC— CLAIRON. 


ing  the  tones  of  the  chr.  scale. . .  Chr.  in- 
terval, an  interval  chromatically  aug- 
mented or  diminished. .  .  Chr.  scale,  see 
Scale. .  .  Chr.  semitone,  an  interval 
formed  by  altering  a  note  of  the  natural 
scale  by  a  sharp  or  flat,  or  by  further 
altering  such  a  sharped  or  flatted  inter- 
val by  a  X  or  b!?-  (See  Seinitone.).  . . 
Chromatic  signs,  the  characters  used  in 
mus.  notation  for  raising  or  lowering  the 
pitch  of  (a)  natural  notes,  (/')  notes 
already  raised  or  lowered  (comp.  Table, 
art.  Interval).  Those  now  in  use  are 
the  Sharp  (j$),  Flat  (p),  Natural  (tl), 
Double-sharp  ( x ),  Double-flat  ((7^))  ; 
the  Great  Flat  ([?)  is  obsolete  ;  the 
combined  sign  tW  (or  tib)  signifies  that 
a  note  previously  sharped  (or  flatted)  is 
first  restored  to  its  natural  pitch  on  the 
staff  and  then  sharped  (or  flatted)  ;  the 
Double-natural  {titt)  ^^  superfluous  and 
incorrect. — The  chromatic  signs  at  the 
head  of  the  staff  are  called  the  key-sig- 
nature (see  Key  i)  ;  such  as  occur 
irregularly  in  the  course  of  a  composi- 
tion are  called  accidentals.  An  acci- 
dental, as  a  general  rule,  affects  its 
note  only  during  the  measure  in  which 
it  is  written,  unless  the  note  be  tied  into 
the  ne.\t  measure  or  measures: 


I 


:S?= 


=?=-' 


=««c 


m 


higher  or  lower  octaves  of  the  note  are 
not  affected,  and  must  therefore  like- 
wise take  an  accidental. 

Chromatic  {noun.)  A  chromatically  al- 
tered note. 

Chronom'eter.  Occasional  for  Met'ro- 
name. 

Chronom^tre  (Fr.)  A  species  of  mono- 
chord,  made  to  sound  by  means  of  a 
keyboard  like  that  of  the  pfte.,  to  teach 
the  tuning  of  the  latter;  inv.  in  1827 
by  Raller,  pfte. -maker  in  Paris. 

Chrot'ta.     See  Crowd. 

Church-modes.     See  Mode. 

Chute  (Fr.)     A  grace-note  or  appoggia- 
tura  cither  above  or  below  the  melody- 
note  ; 
written  : 


■■\^<r  ir= 


played  : 


^Eg 


— Also,  a  slide 
descending  by  a 
third  : 


Ciacco'na  (It.)     Chaconne. 

Cico'gna  (It.,  lit.  "  stork.")  The  mouth- 
piece of  a  wind-instr. 

Cicu'ta  (Lat.)  A  sort  of  flute,  or  Pan's- 
pipe. 

Cifra'to  (It.)     Figured. 

Cim'bal.     See  Cymbal. 

Cim'balo  (It.)  i.  A  cymbal. — 2.  A 
harpsichord. — 3.  A  tambourine. 

Cim'balon.     Same  as  Zimbalon. 

Cim'bel  (Ger.)  See  Cyjnbal  2. . .  Cim'bel- 
stern,  see  Zimbelstern. 

Cinel'Ii  (It.,  pi.)     Cymbals. 

Cink  (Ger.),  Cinq  (Fr.)     See  Zink  2. 

Cin'que  (It.)  A  fifth  part  in  concerted 
music. .  .A  cinque,  for  or  in  5  parts. 

Cinque-pace.  An  old  (presumably 
French)  dance,  with  a  5-step  movement. 

Cipher.  A  tone  is  said  to  "  cipher"  on 
the  organ  when,  owing  to  some  de- 
rangement in  the  action,  it  persists  in 
sounding. 

Circle-(orcircular)canon.  See  Canon, . . 
Circle  of  fifths,  see  Temperament. 

Cir'colo  mez'zo  (It.)  A  turn.  (Now 
Gruppetto.) 

Cir'culus  (Lat.,  "circle".)  A  time-sig- 
nature in  medieval  music.  (See  Nota, 
lion,  §3.) 

Cis  (Ger.)     CJJ. — Cis'is,  C  x . 

Cistel'la  (Lat.,  "little  box.")  A  dulci- 
mer. 

Cistole,  Cistre,  Citole.     See  Zither. 

Cistrum.     See  Sistrum. 

Ci'thara  (Lat.;  It.  ci'tara.)  An  ancient 
instr.  of  the  lyre  family,  from  which 
many  medieval  and  several  modern 
instr. s  (guitar,  zither)  derive  their 
names  and,  in  part  at  least,  their  con- 
struction. See  Cither ..  .C.  biju'ga,  a 
two-necked  cither. 

Cith'er  (also  cithern,  cittern  ;  Fr.  cistre, 
sistre;  It.  ce'tera,  ce'tra).  An  instr. 
strung  with  v;ire  and  played  with  a 
plectrum  ;  a  variety  of  lute  or  guitar, 
in  vogue  during  the  i6th  and  17th  cen- 
turies.    (See  Zither.) 

Citole.     A  small  dulcimer. 

Civetteri'a  (It.)  Coquetry. . .  Con  c.,  in 
a  coquettish,  trifling  style. 

Clairon  (Fr.)  i.  A  clarion  (either  the 
instr.  or  the  organ-stop) ...  C/.  chro- 
matique,  a  species  of  valve-tmmpet 
made  in  6  different  pitches,  (as  a  con- 


CLANG— CLASSIC. 


45 


trabass,  bass,  barytone,  tenor,  alto,  and 
soprano.) — 2.  Clarinetto  register  of  the 
clarinet. — 3.  Bugler  (for  infantry). 

Clang.     See  Klaug. 

Clang-color,  Clang-tint,  Timbre, 
"tone-color;"  the  quality  of  a  tone, 
dependent  on  the  number  and  intensity 
of  its  harmonics. 

Claquebois  (Fr.)     Xylophone. 

Clarabella.  An  organ-stop  having  open 
wooden  pipes  of  8-foot  pitch  and  soft, 
mellow  tone. 

Claribel-flute.     A  4-foot  Clarabella. 

Clarichord.  An  instr.  of  the  late  middle 
ages,  apparently  a  variety  of  harp, 
though  thought  by  some  to  have  been 
identical  with  the  clavichord. 

Clarin  (Fr.)     See  Clarion. 

Clarinet'.  I.  (Ger.  Klarinet'te;  Fr. 
clarinette ;  It.  clarinet' to. ^  The  parent 
instr.  of  the  clarinet  family  was  the 
chalumeau,  a  primitive  wind-instr.  hav- 
ing a   cylindrical   tube  with   9    finger- 


holes,  and  a   beating   reed  ;  its  entire 
scale 


was  composed  of  the  prime  tones  pro- 
duced by  successively  opening  the 
holes. — The  modern  clarinet  differs 
from  the  chalumeau  chiefly  in  its  abili- 
ty to  reproduce  the  prime  tones  of  its 
scale  (or  rather  their  third  partials)  a 
tivelfth  higher;  this  result  is  due  to  the 
addition  of  a  small  hole,  covered  by  an 
extra  key,  at  the  nodal  point  dividing 
the  air-column  into  3  equal  portions, — 
an  improvement  attributed  to  Joh.  Chr. 
Denner  of  Nuremberg  about  1 700.  The 
higher  scale  or  register  thus  obtained 
was  termed,  by  reason  of  its  bright  and 
piercing  quality,  clarinetto  (whence  the 
name  of  the  modern  instr.);  the  origin- 
al lower  scale  retained  the  name  of  the 
old  chalumeau. — The  soprano  clarinet 
in  Cis  the  typical  instr.  of  the  family  ; 
compass  3  octaves  and  a  sixth  (with 
chromatic  intermediate  tones): 


It  has  a  cylindrical  wooden  tube  pierced 
by  i3  holes,  13  of  which  are  closed  by 
keys,  yielding  a  chromatic  series  of  19 
prime  tones  (e  to  /''b);  it  is  composed 
of  5  pieces  or  joints,  namely,  the 
mouthpiece  with  the  reed,  the  socket 
(Ger.  Bir?ie),  the  ^'right-hand"  and 
^'left-hand"  joints  of  the  tube  proper, 
and  the  bell;  its  higher  registers  are 
simply  the  third,  and  fifth  or  ninth, 
partials  of  the  prime  tones  (from  b^^  to 
f^,  and/^  to  c*.)  The  quality  of  the 
tone  differs  greatly  in  the  four  registers, 
the  "chalumeau"  and  "clarinetto" 
being  comparable  to  the  female  con- 
tralto and  soprano  respectively,  while 
the  medium  is  weak  and  veiled,  and  the 
highest  shrill  and  piercing.  Several 
sizes  are  made  :  (i)  The  large  soprano 
cl.  in  C,  B[),  and  A,  and  (2)  the  small 
soprano  clarinets  in  D^  E,  /'"and  .4\), 
these  last  being  mostly  used  in  military 
music,  in  which  their  posuion  is  similar 
to  that  held  by  the  violins  in  the  or- 
chestra. There  are  also  alto  (or  bary- 
tone) clarinets  in  F  and  E^,  and  bass 
clarinets  m  C,  B^,  or  A  (octave  below 


the  soprano  instr. s  of  the  symphony- 
orchestra).  The  cl.  is  a  transposing 
instr.,  and  its  music  is  written  in  the  C- 
clef.  The  fingering  is  very  complicated 
and  the  reed  difticult  to  manage,  a 
slight  error  of  judgment  sufficing  to  pro- 
duce the  fatal  "  couac." — 2.  See  Clar~ 
ionct  2. 

Clarinet-stop.     See  Krumm'hom. 

Clarinet'to  (It.)     See  Clarinet. 

Clari'no  (It.)  i.  Clarion  i  and  2. — 2. 
A  name  loosely  applied  to  the  trumpet 
and  bugle.  —  3.  Used  for  tromba,  in 
some  old  scores. 

Clarion.  I.  A  small,  shrill-toned  trum- 
pet.— 2.  In  the  organ,  a  4-foot  reed- 
stop  of  a  shrill,  piercing  tone. 

Clarionet,  i.  A  clarinet. — 2.  In  the 
organ,  an  8-foot  reed-stop  of  soft  tone. 
. .  Clarionet-Jliite,  a  flue-stop  with  per- 
forated cover. 

Classic.  In  a  restricted  sense,  a  com- 
position is  called  classic  when  it  be- 
longs to  an  acknowledged  style  in  art, 
and  is  by  an  acknowledged  master  of 


46 


CLAUSULA— CODA. 


that  style. — In  a  broader  sense,  any 
composition  may  be  termed  classic 
which,  in  its  kind,  might  be  taken  as  a 
model  for  imitation,  and  in  which  the 
form  is  in  perfect  harmony  with  the 
spirit  or  subject-matter.  —  Classic  is 
also  often  used  as  a  distinctive  epithet 
for  the  works  of  the  earlier  masters, 
including  Beethoven,  and  their  imita- 
tors, in  contrast  to  those  of  the  roman- 
tic school  ;  c/assic  forms  being  the 
aria,  rondo,  sonata,  symphony,  etc. 

Clau'sula  (Lat.)     A  cadence. 

Clavecin  (Fr.)  A  harpsichord. ..  C/. 
acotistiqiie,  a  French  invention  of  the 
l8th  century,  imitating  several  stringed 
and  wind-instruments. 

Claviatur'(Ger.)  Keyboard  {Klaviatur). 

Clavicem'balo  (It.)     Harpsichord. 

Clavichord.  (Ger.  Kla'vichord,  Klavier' ; 
Fr.  clavicordc ;  It.  clavicor'do.)  One 
of  the  precursors  of  the  pfte.  (see  Fi- 
anoforfc),  differing  in  action  from  the 
latter  in  having,  instead  of  hammers, 
upright  metal  wedges  called  tangents 
on  the  rear  end  of  the  digitals;  on  de- 
pressing a  digital  the  tangent  struck 
the  wire  and  remained  pressed  against 
it  till  the  finger  was  lifted,  causing  only 
one  section  of  the  string  to  vibrate. 
(Compare  Gebunden.) 

CIavicithe'rium(-cythe'rium.)  An  ob- 
solete instr.,  supposed  to  have  been  a 
kind  of  harpsichord,  but  with  the 
strings  stretched  in  a  vertical  frame  in- 
stead of  horizontally. 

Clavicor  (Fr.)     A  kind  oi  cor  h pistons. 

Clavicylin'der  (Ger.)  A  keyboard  instr. 
inv.  by  Chladni  about  1800,  containing  a 
glass  cylinder  caused  to  revolve  by  a 
treadle,  and  steel  wands  or  bars  instead 


of  strings,  which  were  pressed  against 
the  revolving  cyiinder  on  touching  the 
digitals,  and  thus  made  to  sound  ;  com- 
pass i\l4.  octaves. 

Clavier'  [-veer'].  (Ger.  Klavier'.)  i.  A 
keyboard  {Kla7natia-). — 2.  (Ger.)  Gen- 
eric name  for  all  keyboard  instr. s  except 
organs  ;  especially  (formerly)  for  the 
clavichord,  and  (at  present)  for  the 
pianoforte.     See  Klavier. 

Clavier  (Fr.)  i.  A  keyboard. .  ./"cj-j-/- 
dcr  son  cl.,  to  know  one's  keyboard. . . 
CI.  de  r/cit,  R/cit  expressif,  swell-man- 
ual (organ). — 2.  The  range  or  scale  of 
notes  comprised  on  the  grand  staff 
without  leger-lines. 

Claviglissan'do.  A  keyboard  instr. 
consisting  of  a  combination  of  mechan- 
isms for  producing  various  harmonium 
effects,  and  also  the  portamento  of  the 
violin  ;  inv.  by  Le  Jeune. 

Cla'vis  (Lat.)  i.  A  key  (digital),  clef,  or 
note. — 2.  Bellows-handle. 

Cl^,  Clef  (Fr.)  I.  Clef;  armer  la 
clef,  to  furnish  the  clef  with  the  key- 
signatures. — 2.     Key  (of  a  wind-instr.) 

Clef.  (Ger.  SchUis'sel:  Fr.  ^//,  clef;  It. 
ckia've.)  A  character  set  at  the  head 
of  the  staff  to  fix  the  pitch  or  position 
of  one  note,  and  thus  of  the  rest.  The 
3  now  in  use  are  the  /"-clef,  C-clef,  and 
6'-clef  ,■  the  /"-clef  and  C-clef  are  also 
called  the  Bnss-c\&i  and  Trehle-oXfti  re- 
spectively, because  they  fix  the  position 
of  the  bass  and  treble  notes.  The  C- 
clef  is  variously  called  the  Tenor-,  Alto-, 
and  Soprano-cX^i,  according  as  it  is  set 
on  ihe  4th,  3d,  or  1st  line  of  the  staff  ; 
wherever  placed,  it  marks  the  position 
of  Middle-6'(Tenor-C.)  A  view  of  the 
clefs  used  at  present  is  appended. 


Bass-clefs. 


C-clefs. 


Treble-clef. 


Tenor-clef  (recen). 


ig^:JEM33: 


The  /"-clef  on  the  3rd  line  {Barytone- 
clef),  the  C-clef  on  the  2nd  {Mezzo- 
Sop  rano-c\ei),  the  C-clef  on  the  ist  line 
{French  z'iolin-c\ei),  or  on  the  3rd  line, 
are  no  longer  used  (the  C-clef  on  the 
2nd  line  occa-  .-^  Q  is  sometimes 
sionally).  The  |g5S=  used  in  vocal 
double  G-clef :  «Jt7  music  as  a  ten- 
or-clef, signifying  that  the  part  lies  an 
octave  lower  than  written. — Our  modern 
forms  of  the   clefs  are   corruptions  of 


the  letters/,  c,  and^,  formerly  plainly 
written. 

Cliquette  (Fr.)     The  bones. 

Close  (noun;  Ger.  Schluss).  See  Ca- 
dence 3. 

Close  harmony  or  position.  See  Har- 
mony. .  .  Close  play,  a  style  of  lute- 
playing  in  which  the  fingers  were  Kept 
on  the  strings  as  much  as  possible. 

Co'da  (It.,  '*  tail.")     Specincaliy,  a  pas- 


CCELESTINA-COMPLIN. 


47 


sage  finishing  a  movement,  and  begin- 
ning where  the  repetition  of  the  first 
subject  ends.  Originally,  it  was  a  few 
chords  (or  a  short  passage)  intended 
as  a  winding-up  ;  it  became  of  growing 
importance  in  the  canon,  sonata,  rondo, 
etc.,  and  is  frequently  developed  into  an 
almost  independent  concluding  division. 
— Also,  the  stem  or  tail  of  a  note 
{caudd)..  .Codelta,  a  short  coda.  (See 
Fugtie!) 

Coelestina  (or  -o).  A  name  bestowed 
in  theiSth  century  on  several  modifica- 
tions of  keyboard  stringed  instr.s,  in 
which  alterations  of  the  tone  could  be 
produced  by  mechanisms  under  the 
player's  control. 

Coffre  (Fr.)  Case  (of  a  pfte.) ;  body  (of 
a  violin). 

Co'gli  stromenti  (It.)  With  the  instru- 
ments. 

Coi,  col,  coir,  col'Ia,  col'le,  col'lo  (It.) 
With  the. 

Colascio'ne  (It.)     See  Calascione. 

Collet  de  violon  (Fr.)    Neck  of  a  violin. 

Collinet  (Fr.)  A  flageolet ;  named  after 
a  celebrated  player. 

Col'ophony.  (Ger.  Kolophon' ;  Fr. 
colophane ;  It.  colofo'nia ;  from  Lat. 
colopho'nium!)     Resin  or  rosin. 

Color.  I.  Timbre  (tone-color). — 2.  The 
characteristic  rhythms,  harmonies,  and 
melodies  of  a  composition. — 3.  (Lat.) 
See  Notation,  §3. 

Colora'to  (It.)     Florid,  figurate. 

Coloratu'ra  (It.)  Colorature,  i.  e.  vocal 
runs,  passages,  trills,  etc.,  enhancing 
the  brilliancy  of  a  composition  and  dis- 
playing the  vocalist's  skill. — Also  ap- 
plied to  similar  instrumental  music. 

Coloris  (Fr.;  Ger.  C{I\')olorit'  \_Far'bett- 
gebitng\).  The  tonal  "color-scheme," 
vocal  or  instrumental,  of  a  composition, 
movement,  or  scene  ;  i.e.  the  modifica- 
tions in  vocal  or  instrumental  timbre, 
or  in  the  instrumentation,  employed  for 
obtaining  special  effects. 

Col'po  (It.,  "blow".)  Di  colpo,  at  a 
blow,  suddenly,  at  once. 

Combination  pedal.  See  Pedal. .  .  Com- 
bination tones  (combinational  tones), 
see  Acoustics. 

Combined  mode.  See  Dur  Moll- 
Tonart. 

Co'me  (It.)     As,  like..  .C. /r/wa,  as  at 


first,  as  before. .  .  C.  sopra,  as  above.. . 
C.  sta,  as  it  stands,  as  written. 

Co'mes  (Lat.)  Answer  (in  a  fugue); 
consequent  (in  a  canon). 

Comma,  i.  A  comma  (,)  is  often  used 
as  a  breathing-mark. — 2.  (a)  Didymic 
or  syntonic  c.  :  The  difference  between 
the  greater  and  lesser  whole  tone,  or 
80:81  ;  (/')  Pythagorean  c,  or  c.  maxi- 
ma :  The  difference  between  the  octave 
of  a  given  tone  and  a  tone  6  whole 
tones  higher  than  the  given  tone,  or 
524288:531441. 

Com'modo  (It.  ;  also  co'modo.)  Easy, 
leisurely,  at  a  convenient  pace  ;  as  al- 
legro  commodo.. .  Commodavien'te,  easily, 
quietly,  leisurely..  .Conimodet'to,  rather 
easy  or  leisurely. 

Common  chord.  A  major  or  minor 
triad. . .  Common  Jiallelujah  metre,  or 
Common  long  metre,  a  6-line  stanza 
formed  of  a  common-metre  stanza  with 
half  a  long-metre  stanza  added  ;  thus, 
8  6  8  6  8  8...  Common  measure,  see  C. 
time. .  .  Common  f/ietre,  a  form  of  iambic 
stanza,  of  4  lines  containing  alternately 
8and6syllables;  thus,  8  6  86..  .Double 
common  metre,  a.  stanza  formed  of  2 
common-metre  stanzas. . .  Common  par- 
ticular ?netre,  a  6-line  stanza,  the  3rd 
and  6th  lines  having  6  syllables,  and 
the  others  8  each  ;  thus,  8  8  6  8  8  6... 
Common  time,  a  measure  containing  2 
(or  4)  half-notes  or  4  quarter-notes, 
with  2  or  4  beats  respectively  ;  duple 
or  quadruple  time.  (Ordinarily,  com- 
mon  time  is  understood  to  mean  4 
quarter-notes  [and  as  many  beats]  to  a 
measure.) 

Compass.  (Ger.  Um'fang ;  Fr.  diapa- 
son ;  It.  estensio'ne.)  The  range  of  a 
voice  or  instr.,  i.  e.  the  scale  of  all  the 
tones  it  can  produce,  from  the  lowest 
to  the  highest. 

Compiace'vole  (It.)  Pleasing,  delightful. 

Com'plement.  An  interval  which,  added 
to  any  given  interval  not  wider  than 
an  octave,  completes  the  octave  ;  thus 
a  fourth  is  the  c.  of  a  fifth,  a  minor 
si.Kth  of  a  major  third,  etc.  Also  com- 
plementary interval. 

Comple'tory.  (Lat.  completo'rium.)  i. 
An  anthem  supplementary  to  an  anti- 
phon  in  the  lauds  and  vespers  of  the 
Ambrosian  rite. — 2.     See  Complin. 

Com'plin(e).  The  last  of  the  7  canon- 
ical hours. 


48 


COMPONISTA— CONJUNCT. 


Componi'sta  (It.)     Composer. 

Composition  pedal.  In  the  orjjan,  a 
pedal  which  draws  out  or  pushes  in 
several  stops  at  once.  (Comp.  combina- 
tion pedal.) 

Composizio'ne  (It.)  Composition... 
C.  di  taToli'no,  table-music. 

Compound  interval.  See  Intfrval. . . 
C.  tneasure,  rhythm,  time,  see  Time..  . 
C.  stop,  an  organ-stop  having  more  than 
one  rank  of  pipes. 

Con  (It.)     With. 

Concave  pedals.     See  Radiating. 

Concen'to  (It.)  i.  Concord,  harmony. 
— 2.  The  simultaneous  sounding  of  all 
the  tones  of  a  chord  ;  opp.  to  arpeggio. 

Concen'tus  (Lat.)  i.  Concord,  har- 
mony.— 2.  Part-music. — 3.  See  Ae- 
centiis. 

Con'cert.  i.  A  set  of  instr.sof  the  same 
family  but  different  in  size  (see   Chest, 

Consort) 2.  A  concerto. — 3.  ((ler.  Kon- 

zert' ;  Fr.  concert ;  It.  concer'to.)  A 
public  mus.  performance. .  .Z>?//(-A  con- 
cert, the  singing  of  an  entire  company 
in  which  each  person  sings  whatever  he 
pleases  ;  or  the  persons  present  sing  in 
alternation  any  verse  that  comes  into 
their  heads,  the  refrain  by  the  whole 
company  being  a  regular  repetition  of 
some  popular  verse. . .  Concert  spirittiel 
(Fr.),  sacred  concert. 

Concertan'te  (It.)  Concordant,  har- 
monious.— Hence  :  i.  A  concert-piece. 
— 2.  A  composition  for  two  or  more 
solo  voices  or  instr.s  with  accomp.  by 
organ  or  orchestra,  in  which  each  solo 
part  is  in  turn  brought  into  prominence. 
— 3.  A  composition  for  2  or  more 
solo  instr.s  without  orchestra. . .  Concer- 
tante  parts,  parts  for  solo  instr.s  in 
orchestral  music. .  .  Concertante  style,  a 
style  of  composition  admitting  of  a 
brilliant  display  of  skill  on  the  soloist's 
part.  .  .  Concerto' to,  concerted. 

Concerted  music.  Music  written  in 
parts  for  several  instr.s  or  voices,  as 
trios,  quartets,  etc. 

Concert-grand.     See  Pianoforte. 

Concerti'na.  The  improved  accordion 
inv.  by  Wheatstone  in  1829.  The  key- 
boards are  hexagonal  ;  the  compass  of 


the  treble  c. 
is  4  octaves : 
includingall 
chrom 
tones 


Imgall  --»         /-^ 
matic  \m       Tj 
;  it  is  7f~l^ 


.it 


double-ac 
tion  instr., 
produci  ng 
the  same  tone 
on     drawing 


out  and  on  pushing  in  the  bellows. 
Tenor,  fiass,  and  douhle-hass  concertinas 
are  also  made.  A  great  variety  of  music 
can  be  played,  and  the  literature  is  quite 
extensive  ;  the  instr.  is  likewise  capable 
of  great  expression,  and  the  tone  is  sus- 
ceptible of  considerable  modification. 

Concerti'no  (It.)  i.  A  small  concert. 
— 2.  Equiv.  to  concertan'te,  i.  e.  lead- 
ing, principal  ;  as  violino  concertino, 
principal  violin  ; — here  opp.  to  ripie'no. 

Concerti'sta  (It.)  Concert-player,  solo 
performer,  virtuoso. 

Concert-master.     See  Konzert'meister. 

Concer'to.  (Ger.  Konzert'.)  An  ex- 
tended composition  for  a  solo  instr., 
commonly  with  orchestral  accomp.,  in 
sonata-form  modified  to  suit  the  char- 
acter of  the  solo  instr.  (e.  g.  the  cadenza); 
pfte. -concertos  in  which  the  pfte.-part 
is  comparatively  inconspicuous  are  jocu- 
larly called  "symphonies  with  pfte.- 
accomp." — The  earlier  concertos  were 
in  concertante  style,  2  or  more  instr.s  or 
voices  bearing  leading  parts  ;  Viadana's 
cancer' ti  ecclesia' stici,  or  da  chie'sa, 
were  simply  motets  with  organ-accomp.; 
Torelli  was  the  first  (1686)  to  write 
concerti  da  ca'mera  (for  2  violins  and 
double-bass). 

Concert-pitch.     See  Fitch. 

Concert'stuck  (Ger.)  A  concert-piece  ; 
a  concerto. 

Concita'to  (It.)  Moved,  excited,  agi- 
tated. 

Concord,  i.  Harmony ;  opp.  to  dis- 
cord.— 2.     See  Consonance. 

Concor'dant.  I.  Consonant —2.  (Fr.) 
A  barytone  voice. 

Conductor.  (Ger.  Kapell'meister,  Diri- 
gent' ;  Fr.  chef  d'orchestre ;  It.  capo 
d'orchestra,  inae'stro  di  cappel'la.)  The 
director  of  an  orchestra  or  chorus. 

Conduc'tus  (Lat.)  A  form  of  polypho- 
nous  composition  (12th  century)  in  which 
the  tenor  to  the  contrapuntal  variations 
was  not  borrowed  from  plain  song  (as 
in  the  or'gamim  and  discan'tus),  but, 
like  the  counterpoint,  was  original 
with  the  composer. . .  C.  du'plex,  3-part 
counterpoint ;  C.  sim'plex,  2-part  coun- 
terpoint. 

Conduit  (Fr.)  i.  Conductus. — 2.  A 
wind-trunk  (organ). 

Cone-gamba.     Bell-gamba. 
Conjunct'.     (Fr.  conjoint ;  It.  congiun'- 
to.)    A  degree  of  the  scale  immediately 


CONSECUTIVE  INTERVALS— CONTRE- 


49 


succeeding  another  is  called  a  conjunct 
degree  ;  opp.  to  disjunct. 

Consecutive  intervals.  Intervals  of 
the  same  kind  following  each  other  in 
immediate  succession  ;  "  consecutives  " 
are  progressions  of  parallel  fifths  or 
octaves,  forbidden  in  strict  harmony. 
See  Parallel. 

Conseguen'te  (It.)  Consequent. ..  G'«- 
segtien'za,  a  canon. 

Consequent.  (It.  conseguen'te^  See 
Canoti. 

Conservatory.  (Ger.  Konservato'rium ; 
Yx.  conservatoire;  It.  conservato'rio.) 
A  public  institution  for  providing  prac- 
tical and  theoretical  instruction  in 
music. 

Consolan'te  (It.)     Consoling,  soothing. 

Con'sonance.  (Ger.  Konsonanz' ;  Fr. 
consonance;  It.  consonan'za!)  A  com- 
bination of  2  or  more  tones,  harmonious 
and  pleasing  in  itself,  and  requiring 
no  further  progression  to  make  it  satis- 
factory ;  opp.  to  dissonance.  (Comp. 
Acoustics,  J$3.). .  .Imperfect  consonances, 
the  major  and  minor  thirds  and  sixths. 
..Perfect  consonances,  the  octave, 
fifth,  and  fourth. 

Consonant  chord.  One  containing  no 
dissonant  interval..  .C.  interval,  a  con- 
sonance. 

Con'sort.  i.  See  Chest  (of  viols). — 2. 
A  band,  or  company  of  musicians. 

Con'tano  (It.,  "they  count.")  Direc- 
tion in  scores,  that  parts  so  marked  are 
to  pause. 

Continua'to  (It.)  Continued  (see  Basso 
continuo)  ;  held,  sustained. 

Continued  bass.     See  Bass. 

Conti'nuo.     A  Basso  continuo. 

Contra  (Lat.,  It.)  Compounded  with 
names  of  instr.s,  it  signifies  an  octave 
below  ;  e.  g.  contr  abbas' so,  a  double- 
bass.  . .  Contra-octave,  see  Pitch. 

Contrabass.  (It.  contrabbas'so.)  i.  A 
double-bass. — 2.  The  lowest  bass 
instr.  in  a  family  of  instr.s. .  .  Contra- 
bassist,  &  player  on  the  double-bass. 

Contraddan'za  (It.)  Contra-dance  or 
country -dance. 

Contraffagot'to  (It.)     i.  A  double-bas- 
soon.— 2.     A   reed-stop   in    the   organ 
imitative  of  i. 
/<' Contral'to     (It.)      The    lowest   female 


i^ 


voice,  having  a  com- 
pass from  about  f 
to  e'',  the  extremes 
beings—/:  (*-)"^ 

(Also  Alto.) — Male  voices  were  e.xclu 
sively    employed    in   the   old    church- 
music,    the   tenor  being    called   altus; 
hence  the    term  ''''contralto" ,  i.e.   op- 
posed to  or  contrasted  with  the  altus. 

Contrappunti'sta  (It.)  A  contrapuntist. 

Contrappun'to  (It.)  Counterpoint. . .  C. 
alia  men  te,  see  Chant  surle  livre. .  .  C. 
alia  zop'pa,  "limping",  i.  e.  syncopa- 
ted, counterpoint. .  .  C.  dop'pio,  double 
or  invertible  counterpoint. . .  C.  synco- 
pa'to,  syncopated  counterpoint.  ..  C 
so'pra  (sot'to)  il  sogget' to,  counterpoint 
above  (below)  the  theme. 

Contrapunc'tus  (Lat.)  Counterpoint.. . 
C.  ad  viden'dum,  counterpoint  written 
out  ;  opp.  to  contrappun'to  alia  men' te, 
improvised  counterpoint. .  .  C.  cequa'lis, 
equal  counterpoint..  .C.  diminu'tus  or 
flor'idus,  florid  or  figurate  counter- 
point. .  .  C.  inaqua'lis,  unequal  coun- 
terpoint. 

Contrapun'tal.  Pertaining  to  the  art 
or  practice  of  counterpoint. 

Contrapun'tist.  One  versed  in  the 
practice  and  theory  of  counterpoint. 

Contr'ar'co  (It.)  "Against  the  bow," 
up-bow  for  down  bow.  ox  vice  versa. 

Contrary  motion.     See  Motion. 

Contrasogget'to  (It.)     Countersubject. 

Contra-tenor.     Countertenor. 

Contrattem'po  (It.)  i.  A  tone  enter- 
ing on  a  weak  beat  and  ending  on  a 
strong  beat ;  a  syncopation. — 2.  A 
sustained  melody,  as  contrasted  with  its 
figurate  accomp. 

Contravioli'no,-violo'ne  (It.)  A  double- 
bass. 

Contre- (Fr.)  Contra-,  counter-. ..  C^w- 
tre-basse,  double-bass..  .Contredanse,  a 
French  dance  deriving  its  name  from 
the  position  of  the  dancers  opposite  to 
or  facing  each  other.  Originally  there 
were  but  2  dancers  ;  there  are  now  8, 
and  the  dance  is  known  in  English  as 
the  Quadrille. — Also,  dance-music  for 
a  quadrille. .  .  Contre-t'clisses,  linings. . . 
Contre-partte,  a  mus.  part  opp.  to  or 
contrasted  with  another,  as  bass  and 
soprano ;  said  especially  of  either  of 
the  parts  in  a  duet.. .  Contrepoint,  coun- 
terpoint ;  contrepointiste,  contrapuntist. 


50 


CONVERSIO— CORNO. 


.  .  Contre-sujet,     countersubject. . .  Con- 

tre-tenips,  see  Contra/tempo. 
Conver'sio  (Lat.)  Inversion. 
Coper'to  (It.)     "Covered,"  muffled  ;  as 

tim'pani  copa-'ti^  muffled  kettledrums. 

Co'pula  (Lat.)  i.  (also  Fr.)  A  coupler 
(organ). — 2.  A  name  for  certain  flue- 
stops  ;  {a)  the  8-foot  open  diapason  ; 
(p)  the  8-foot  Hohl'Jldte  or  A'op'pel- 
Jlote. 

Cor  (Fr.)  A  horn. . .  Cor-alt,  cor-basse, 
see  Corno  alto  (basso). . .  C.  anglais,  see 
Oboe. . .  C.  lie  basset,  basset-horn.. .  C. 
de  chasse,  a  hunting-horn  ;  in  particu- 
lar, the  large  horn,  whose  tube  is  bent 
to  form  a  circle  of  about  l^  turns. .  .  6". 
de  signal,  a  signal-horn  or  bugle. . .  C. 
de  vaches,  a  cow-horn,  used  by  herds- 
men. . .  C.  omnitonique,  a.  chromatic 
valve-horn  inv.  by  Sax. 

Cora'le  (It.)     A  choral. 

Coran'to  (It.)  i.  A  courante. — 2.  A 
country-dance. 

Cor'da  (It.)  A  string. ..  Sopra  tma  c, 
direction  to  play  a  passage  on  one 
string. . .  Wna  Corda,  direction  to  use 
the  soft  pedal  of  the  pfte. .  .Due  corde, 
(a)  release  soft  pedal  ;  or,  when  the 
soft  pedal  shifts  the  keyboard,  "play 
with  the  pedal  pressed  halfway  down" 
[Riemann]  ;  {b)  in  violin-playing,  a 
direction  to  double  a  note  by  playing  it 
simultaneously  on  2  strings. . .  Tutte 
{le)  corde  (all  the  strings),  release  the 
soft  pedal. 

Cordatu'ra  (It.)  Same  as  Accordatu'ra. 

Corde  (Fr.)  A  string. . .  C  i  jour,  or  a 
vide,  an  open  string. . .  C.  fausse,  a 
string  out  of  tune. . .  C.  sourde,  a  mute 
string. . .  Sur  xtne  corde,  Sopra  una 
corda. 

Cordier  (Fr.)     Tailpiece. 

Cordomfetre  (Fr.)     String-gauge. 

Corife'o  (It.)     See  Corypheus. 

Cori'sta.  (It.)  i.  Chorister,  either 
male  or  female. — 2.  Tuning-fork  ; 
pitch-pipe. 

Cormorne  (Fr.)     See  Cro7norne. 

Cornamu'sa  (It.),  Cornemuse  (Fr.)  A 
bagpipe  in  which  the  wind  is  supplied 
by  the  lungs  (see  Musette). 
(  Cor'net.  [See  Cornet  <i  pistons,  in  fol- 
^  lowing  art.  ]  i.  (Ger.  Zin'ie.)  An  ob- 
solete wind-instr.  much  used  during  the 
15th  and  l6th  centuries,  with  a  narrow 
cupped  mouthpiece  of   ivory  or  wood. 


and  a  wooden  tube  furnished  with 
fingerholes. — There  were  two  classes, 
the  straight  cornet  (in  3  varieties,  cor- 
netto  dirit'to,  c.  tnuto,  com.pass  a — a^  ; 
and  cornetti'no,  compass  ^' — g'^),  and 
the  bent  cornet  (cor  net  to  cu/vo,  com- 
pass a — a'^  ;  and  c.  tor' to  [or  corno,  cor^ 
non],  compass  d — d'^).  The  cornoM 
{cornetto  basso)  was  the  prototype  of  the 
Serpent. — 2.  A  reed-stop  in  the  organ, 
imitating  the  blaring  tone  of  C.  1  (see  4), 
and  of  varying  dimensions :  8-foot 
pitch,  (or  2'  or  4'),  also  called  Cornet- 
iino  ;  16-foot  pitch  (Grand  cornet)..  . 
Bass  cornet,  a  large  deep-toned  brass 
instr.  (obs.) — 3.  (Kornett\)  A  com- 
pound organ-stop  of  from  3  to  5  ranks 
and  8-foot  or  4-foot  pitch,  differing 
from  the  Mixture  in  producing  the  Third 
among  the  harmonics. .  .Echo  cornet,  a 
soft-toned  cornet-stop  enclosed  in  a 
wooden  box. .  .Mounted  cornet,  a  cornet 
stop  mounted  on  a  separate  soundboard 
to  render  its  tone  more  prominent. — 4. 
A  reed-stop  of  2  or  4-foot  pitch,  on  tha 
pedal. 
Cornet  h.  bouquin  (Fr.)  See  Comet  i. 
..Cornet  h pistons  (Fr. ;  Ger.  Ventif- 
kornett),  a  brass  instr.  of  the  trumpet 
family,  having  a  conical  tube  and 
cupped  mouthpiece ;  improved  from 
the  old  post-horn  by  the  addition 
of  3  valves ;  tone  apt 
and  "  brassy"  ;  medium  , 
compass  2  octaves  and  3 
tones.  It  is  a  transposing 
instr.  noted  in  the  6'-clef  : 


to    be    loud 


f^ 


actual 
pitch: 


^ 


this  being  for  tha 
cornet  in  B^,  the 
one  most  in  use. 
In     rapidity    and 


lightness  of  execution,  the  cornet  almost 
vies  with  the  flute  and  clarinet ;  a  certain 
lack  of  refinement  in  its  tone  alone  pre- 
vents its  entrance  into  the  symphony- 
orchestra.  . .  Cornet  d'echo  or  de  r/cit^ 
comet-stop. 

Cornet-stop.     See  Cornet  2,  3,  4. 

Cornet'to  (It.,  dimin.  cornetti'no.)  i.  A 
small  horn. — 2.  A  cornet  i. 

Cor'no  (It.)  A  horn. . .  C.  alto,  high  horn 
in  B;  C.  basso,  low  horn  in  B  [Stainer 
AND  Barrett]. — C.  alto  (basso)  also 
signify,  respectively,  one  of  the  two 
horn-players,  in  the  orchestral  group  of 
four,  who  take  the  highest  (lowest) 
horn-parts. . .  C.  di  bassetto,  basset-horn. 
. .  C.  da  caccia,  hunting-horn. . .  C.  itf 
gle'se,  English  horn. 


CORNON— COUNTERPOINT. 


51 


Cornon  (Fr.)  i.  A  cornet. — 2.  A  brass 
wind-instr.  of  broad  scale,  inv.  in  1844. 

Corno'pean,  i.  Cornet  a  pistons. — 2. 
An  organ-stop  on  the  swell-manual. 

Co'ro  (It.)  Chorus  ;  choir.. .  Cfavori'to, 
a  selected  chorus,  as  opp.  to  the  full 
chorus. . .  C.  spczza'to,  a  divided  chorus 
(sung  by  several  choirs  in  different 
parts  of  the  church).  .  .A  cori  batlen'ti^ 
for  divided  chorus,  one  half  imitating,  in 
parallel  or  reverse  progression,  what 
the  other  half  sings. 

Coro'na  (It.)    A  hold  (o). 

Cor'onach  (Gaelic.)  A  funeral  lament  ; 
a  dirge. 

Corps  (Fr.)  Body  (of  a  tone). . .  C.  cT har- 
inoitie,  a  fundamental  chord. .  .C.  de 
musiqtte,  a  wind-band. .  .  C.  de  reckangt', 
a  crook. . .  C.  de  voix,  the  range  and 
volume  of  a  voice,  taken  collectively. 

Correcto'rium  (Lat.)     Tuning-cone. 

Corren'te  (It.)    Courante. 

Coryphae'us  (Lat.)  (Engl,  coryphe'us  ; 
Ger.  Koryphd'e ;  Fr.  coryphe'e ;  It.  co- 
rife' o.')  In  the  ancient  Greek  drama, 
the  leader  of  the  chorus  ;  hence,  in 
modern  usage,  the  leader  of  an  opera- 
chorus  or  other  company  of  singers. 

Cotil'lion,  (Fr.  cotillon.')  A  French 
dance,  the  same  as  the  german,  to 
quadrille-music. 

Cottage  organ.  The  ordinary  portable 
parlor  organ  {xQ.&A-ox'ga.-n)..  .Cottage 
piano.  I.  A  small  style  of  upright  pfte. 
— 2.  A  small  grand  pfte.  in  upright 
form,  inv.  by  Wilhelm  Kress  of  Menna 
in  1891. 

Couac  (Fr.)     The  "goose." 

Couched  harp.     A  spinet. 

Coul6  (Fr.)    I.  Legato. — 2.  {AXsoDash.) 

A  harpsichord-grace  ; 

written  :  played  : 


Coulisse    (Fr.)     Slide  (of   trombone   or 

trumpet). 
Count.     An  accent,  beat,  or  puisc  of  a 

measure. .  .  Counting,    the    marking    of 

the  successive  beats  of  the  measure  by 

counting  aloud. 

Counter.  Any  vocal  part  set  to  con- 
trast with  the  principal  part  or  melody  ; 
specifically,  the  counter-tenor  (high 
tenor,  or  alto),  sometimes  sung  in  the 


higher  octave  as  a  high  soprano. . .  Bass 
counter,  a  second  bass  part,  either 
vocal  or  instrumental..  .  Counter-exposi- 
tion, re-entrance  of  the  subject  or  sub- 
jects of  a  fugue,  either  directly  follow- 
ing the  exposition,  or  after  the  first  epi- 
sodes .  .  .  Counter-subject,  a  f ugal  theme 
following  the  subject  in  the  same  part, 
as  a  contrapuntal  accomp.  to  the  an- 
swer ;  often  used  independently  as  an 
episodal  theme..  .  Counter-tenor,  a  high 
tenor  or  alto  voice  ;  hence,  the  part  sung 

by  such   a   voice,  or   the ■#- 

singer.     It  is  the  highest  [rr!!"      \/--' , 

adult  male  voice;  compass:  IIHI    »     

being  nearly  the  same  as  that  of  the 
coxi\.x3Xx.o ...  Counter  -  tefior  clef,  the 
C-clef  on  the  3rd  line  ;  used  for  the 
counter-tenor  or  alto  voice,  the  viola,  etc. 
Counterpoint.  (Ger.  Kon'trapunkt ; 
Fr.  cojitrepoint ;  It.  contrappun'to.) 
[From  the  Latin  "  punctus  contra  punc- 
tum  "  (point  against  point),  i.  e.  note 
against  note.]  i.  In  a  wider  sense, 
the  art  of  polyphonic  composition  ;  opp. 
to  hoinophony.  The  canon  and  fugue 
are  the  most  highly  developed  contra- 
puntal forms. — 2.  In  a  restricted  sense, 
the  art  of  adding  one  or  more  melodies 
to  a  given  melody  {cantus  firrnus) 
according  to  certain  rules  ;  hence,  one 
of,  or  all,  the  parts  so  added. — The 
Theory  of  Counterpoint  generally  rec- 
ognizes 5  species,  which,  in  practical 
instruction,  are  variously  combined  :  (i) 
Note  against  note,  whole  notes  in  the 
counterpoint  against  whole  notes  in  the 
c.  f.  {cantus  fr/Hus)  ;  (2)  2  against  i, 
half-notes  in  the  counterpoint  against 
whole  notes  in  the  c.  f. ;  (3)  4  against 
I,  quarter-notes  in  the  counterpoint 
against  whole  notes  in  c.  f.;  (4)  with 
syncopation,  syncopated  half-notes  in 
counterpoint  against  whole  notes  in  the 
c.  f.;  (5)  florid,  figurate,  or  figured, 
the  counterpoint  written  in  irregular 
rhythms. .  .Z><'/</'/^  c,  that  in  which  2 
parts  are  so  written  as  to  be  capable  of 
mutual  inversion  by  an  interval  (octave, 
tenth,  etc.)  determined  beforehand... 
Quadruple  c,  that  written  in  4  mutually 
exchangeable  or  invertible  parts. .  .  Sin- 
gle  c,  that  in  which  the  parts  are  not  in- 
tended to  be  mutually  invertible... 
Strict  c,  that  in  which  the  entrance  ot 
(most)  unprepared  dissonances  is  for- 
bidden. [The  correctness  of  this  defi- 
nition largely  depends  upon  what  is 
meant  by  "  preparation".  The  disso- 
nant intervals  included  in  the  chord  of 


52 


COUNTRY-DANCE— CROOK. 


the  dimin.  7th — dimin.  7th  and  5th, 
augm.  2nd  and  4th — and  also  the  dom- 
inant 7th,  are  now  allowed  to  enter 
freely  even  in  "strict"  counterpoint; 
and  preparation  is  often  effected  l>y  a 
tone  in  a  different  part  and  octave  from 
the  one  in  which  the  following  disso- 
nance enters.].  .  .  Triple  c,  counterpoint 
in  3  mutually  invertible  parts. . .  Tioo- 
part,  Tkree-pa?-t,  Four-pan  cotmter- 
point,  that  in  which  2,  3,  or  4  parts  are 
employed. 

Country-dance.  A  dance  in  which  the 
partners  form  two  opposing  lines, 
which  advance  and  retreat,  the  couples 
also  dancing  down  the  lines  and  re- 
turning to  their  places.  The  time 
varies,  some  tunes  being  in  2-4,  others 
in  3-4  time  ;  the  essential  thing  is,  for 
the  strains  to  be  in  phrases  of  4  or  8 
measures,  to  accompany  the  several 
evolutions. 

Coup  d'archet  (Fr.)  A  stroke  of  the 
bow. .  .  Coup  de  {/a)  glotte,  see  Kchl- 
schlag.  .  .  Coup  de  langue,  a  thrust  or 
stroke  of  the  tongue,  tonguing  ;  double 
coup  de  langue,  double-tonguing. 

Couper  le  sujet    (Fr.)     To  cut  or  cur- 
tail the  subject. 
...    -iCoupIer.    (Ger.  Koppel;  Fr.  copula;  It. 
unione.)     See  Organ. 

Couplet.  I.  Two  successive  lines  form- 
ing a  pair,  generally  rhymed. — 2.  In 
triple  times,  2  equal  notes  occupying 
the  time  of  3  such  notes  in  the  regular 
rhythm  ; 
thus  : 

Cou'rant  {A'oo'-'].  (Fr.  courante;  It. 
corren'te.)  An  old  French  dance  in 
3-2  time ;  hence,  the  instrumental 
piece  called  courante,  forming  a  part  of 
the  Suite,  in  which  it  follows  the  Alle- 
mande.  Though  the  time-signature 
calls  for  3-2  time,  measures  in  6-4  time 
often  occur,  especially  at  the  close  ;  the 
tempo  is  moderately  rapid,  and  dotted 
rhythms  abound. — The  Italian  corrente 
is  quite  different  from  the  above,  its 
chief  feature  being  swift  passages  of 
equal  notes,  whence  the  name  corrente 
("running").  The  tempo  is  rapid; 
time  3-8  or  3-4. 

Couronne  (Fr.)    A  hold  (^). 
C^ourse.    A  group  or  set  of  strings  tuned 
in  unison. 

Covered.  See  Octave — Covered  strings. 
Strings  of  silk,  wire,  c:  gu*^,  covered  by 


^■ 


a  machine  with  spiral  turns  of  fine  sil- 
ver or  copper  wire,  the  process  being 
termed  "  string-spinning." 

Crackle.  In  lute-playing,  to  play  the 
chords  brokenly  {en  batterie)  instead  of 
simultaneously. 

Cracovienne  (Fr.)  A  Polish  dance  for 
a  large  company  ;  hence,  the  music  or 
an  imitation  of  the  music  employed, 
which  is  in  duple  time  with  frequent 
syncopations  (rhythm 

Also  A'rakowiak,  cracoviak. 

Cre'do.  The  third  main  division  of  the 
Mass. 

Crem'balum  (Lat.)     Jew's-harp. 

Cremo'na.  i.  A  name  ordinarily  ap- 
plied to  any  old  Italian  violin  made  by 
the  Amatis,  Stradivarius,  or  Guarneri- 
us,  at  Cremona. — 2.    See  A'ruvimhom. 

Crescen'do  (It.)  Swelling,  increasing 
in  loudness. . .  Cr. -pedal,  see  Pedal. 

Crescen'dozug  (Ger.)  i.  Crescendo- 
pedal. — 2.  A  kind  of  organ-swell  with 
shutters,  a  contrivance  inv.  by  Abbe 
\'ogler. 

Crescent;  also  Chinese  crescent,  or 
pavilion.  (Ger.  Halb'mond;  Fr. 
chapcau  chinois;  It.  cappel'lo  c/iine'se.) 
An  instr.  of  Turkish  origin  used  in 
military  music,  consisting  of  several 
crescent-shaped  brass  plates  hung 
around  a  staff  and  surmounted  by  a  cap 
or  pavilion  ;  around  the  plates  little 
bells  are  hung,  which  are  jingled  in 
time  with  the  music. 

Cre'ticus  (Lat.)  A  metrical  foot  con- 
sisting of  a  short  syllable  between  2 
long  ones  ( —  ^.-  — ). 

Cri'brum  (Lat.)     Soundboard  (organ). 

Croche  (Fr.)  An  eighth-note. . .  Croches 
liees,  eighth-notes  having  the  hooks 
joined  ij'j'^). 

Crochet  (Fr.)     The  stroke  of  abbrevia-  , 
tion  across  the  /  ^\ 
stems  of   notes  \f^  )' 

Croche'ta(Lat.)  A  crotchet,  or  quarter- 
note  (J). 

Croisement  (Fr.)     Crossing   (of  parts). 
Cro'ma  (It.)     An  eighth-note. 
Croma'tico  (It.)     Chromatic. 
Cromor'na.  {Fr.cromorfze.)  SceA'rumm- 

horn. 
Crook.      I.  (Ger.  Bo'gen,  Stivim'bogen: 


CROQUE-NOTE— CZARDAS. 


53 


Fr.  corps  de  rechange,  ton;  It.  pczzo  di 
reserva.)  A  supplementary  tube,  which 
can  be  rapidly  fitted  to  the  main  tube 
(or  body)  of  a  horn  or  trumpet,  for  the 
purpose  of  lowering  the  pitch.  Each 
crook  is  named  after  the  fundamental 
tone  to  which  it  lowers  the  pitch  of  the 
tube  ;  e.  g.  the  Z>-crook  of  an  instr.  in 
E^. — 2.  The  S-shaped  tube  forming 
the  mouthpiece  of  a  bassoon,  and  con- 
taining the  reed. — 3.  In  the  old  harp- 
action,  a  crotchet  engaging  a  string 
and  raising  its  pitch  by  a  semitone. 

Croque-note  (Fr.)  A  player  of  facile 
execution,  but  little  taste  and  judgment. 

Cross-relation.     See  False  relation. 

Cro'talum  (Lat.)  A  kind  of  clapper 
used  by  the  ancient  Greeks  to  mark  the 
time  of  a  dance. 

Crotchet.  I.  A  quarter-note  ;  cr.  -rest, 
a  quarter-rest. — 2.  See  Crook  3. 

Crowd  ;  also  Croud,  Crouth.  (Welsh 
cnvth;  Lat.  ckrot'ta.)  An  ancient 
bow-instr.,  apparently  of  Welsh  or 
Irish  origin,  and  regarded  as  the  oldest 
European  instr.  of  the  class  ;  still  found 
early  in  the  igth  century  among  the 
peasantry  of  Wales,  Ireland  and  Brit- 
any.  Its  body  was  square,  and  termin- 
ated, instead  of  by  a  neck,  by  2  parallel 
arms  connected  at  the  end  by  a  cross- 
bar, the  centre  of  which  supported  the 
end  of  the  narrow  fingerboard  ;  it  had 
originally  3,  in  modern  times  6,  strings, 
4  lying  over  the  unfretted  fingerboard 
and  2  beside  it.  The  strings  passed 
over  a  bridge,  which  rested  on  the 
belly  between  2  sound-holes  ;  the  ac- 
cordatura  [Grove]  was  as  follows  : 


I 


r^ 


^ I     I ' 

beside      over  fingerboard, 
fingerb. 

Crucifixus  (Lat.)     Part  of  the  Credo. 

Crush-note.     An  acciaccatura. 

Crwth.     See  Crowd. 

C-Schlussel  (Ger.)     C-clef. 

Cue.  A  phrase,  from  a  vocal  or  instru- 
mental part,  occurring  near  the  end  of  a 
long  pause  in  another  part,  and  inserted 
in  small  notes  in  the  latter  to  serve  as  a 
guide  in  timing  its  re-entrance. 

Cuivre  (Fr.,  "  copper.")  Brass;  les 
cuivres  (pi.),  the  brass-wind. . .  Faire 
cuivrer,  to  obtain   a  metallic,  ringing 


tone  by  half-stopping  the  bell  of  the 
French  horn  with  the  right  hand. 

Cum  sancto  spi'ritu  (Lat.)  Part  of  the 
Gloria. 

Cu'po  (It.)  Dark,  deep,  obscure  ;  re- 
served. 

Curran'to.     See  Conrant. 

Cushion-dance.  A  Scotch  and  English 
round  dance,  in  triple  time,  and  per- 
formed in  single  file  ;  each  dancer  in 
turn  drops  a  cushion  before  one  of  the 
opposite  sex,  at  a  regularly  recurring 
strain  of  the  music,  whereupon  the  two 
kneel  and  kiss  each  other,  after  which 
the  dance  proceeds  as  before. 

Cus'tos  (Lat.)     A  direct. 

Cuvette  (Fr.)     Pedestal  (of  a  harp). 

Cyclical  forms.  (Ger.  cyclische  For- 
men.)  Forms  of  composition  embrac- 
ing a  cycle  or  series  of  movements, 
such  as  the  old  suite  or  partita,  or  the 
sonata,  symphony,  and  concerto. 

Cylin'der  (Ger.)  Valve  (in  horns,  etc.; 
usually  Ventil). 

Cymbale  (Fr.)  i.  Cymbal. — 2.  A  steel 
rod  bent  to  a  triangle,  and  bearing  a 
number  of  rings,  which  are  struck  by 
a  steel  wand,  the  cymbale  itself  being 
dangled  on  a  cord. 

Cymbals,  i.  (Ger.  Beck' en;  Fr.  cym- 
bales  ;  \t.  piat'ti,  cinel'li.)  A  pair  of 
concave  plates  of  brass  or  bronze,  varying 
in  size  from  finger-cymbals  something 
over  an  inch  in  diameter  to  the  large 
orchestral  cymbals,  which  have  broad, 
flat  rims,  and  holes  toward  the  middle 
for  the  insertion  of  the  straps  by  which 
they  are  held  ;  used  in  orchestral  music 
to  mark  time  strongly,  or  to  produce 
peculiar — often  weird  and  thrilling — 
effects.  One  of  the  cymbals  is  often 
attached  on  top  of  the  bass  drum,  so 
that  one  player  can  manipulate  both 
drum  and  cymbals. — 2.  In  the  organ, 
a  mixture-stop  of  very  high  pitch. — 
3.     See  Cymbale  2. 

Cym'balum  (Lat.)  i.  Cymbal. — 2.  A 
small  drum  of  the  medieval  monks  ; 
several  such  drums  were  tuned  to  form 
a  scale  of  an  octave,  and  played  like  a 

Glockenspiel. 

Cym'bel.     See  Cymbal. 

V 

Czakan  (Bohemian.)     A  flute  of  cane  or 

bamboo. 
w 

Czardas  (Hung.;  pron.  tckar'dash.)  A 
national      Hungarian     dance,    distiiv 


54 


CZIMBAL— DECISO. 


guished  by  its  passionate  character  and 
changing  tempo. 

Czimbal  (Hung.)     A  dulcimer. 

Czimken  (Pol.)  A  dance  similar  to  the 
country-dance.  [Staixer  AND  BAR- 
RETT.] 

D. 

D.  I.  (Ger.  D;  Fr.  rd ;  It.  ;v.)  The 
2nd  tone  and  degree  in  the  typical  dia- 
tonic scale  of  C-major.  (Comp.  Alpha- 
betical notation,  and  Sol/nisation.) — 2. 
Abbr.  of  Da  (D.  C.=da  capo),  and  Dal 
(D.  S.  =  dal  segno). 

Da  (It)  By,  for,  from,  oi...Da  ca'po, 
(a)  from  the  beginning  ;  (fi)  as  an  ex- 
clamation, "  encore  !  "..  .1).  C.  al fi'ne, 
(repeat)  from  the  beginning  to  the  end 
(i.  e.  to  the  word  Fine,  or  to  a  hold  ^^). 
.  .D.C.  al  se'gno,  (repeat)  from  the  be- 
ginning to  the  sign  (#,  0,  O). .  .D.C. 
al  segno,  poi  (se'gue)  la  coda,  (repeat) 
from  the  beginning  to  the  sign,  then 
(follows)  the  coda..  .D.  C.  dal segno,  re- 
peat from  the  sign. .  .D.C.  sen'za  re'- 
plica  (or  senza  ripetizio'ne),  play  through 
from  the  beginning  without  noticing  the 
repeats..  .Da  eseguir'si,  to  be  executed. 
..Da  tirar'si  ("for  drawing  out"), 
means  "with  slide";  as  tromha  da 
tij-arsi,  slide-trumpet. 

D'accord  (Fr.)     In  tune. 

Dach  (Ger.,  "roof.")  The  belly  of  a 
violin  (usually  Decke). . .  Dach'schweller, 
see  Crescendozug  2. 

Dac'tyl(e).  (Lat.  dac'tylus,  a  finger.) 
A  metrical  foot  of  3  syllables  arranged 
like  the  finger-joints,  one  long  and  two 
short,  with  the  ictus  on  the  first 
(-^^-.). 

Dactyl'ion.  An  apparatus  inv.  by  Henri 
Herz  in  1835,  consisting  of  10  rings 
hanging  over  the  keyboard  and  at- 
tached to  steel  springs  ;  used  by  pianists 
for  finger-gymnastics. 

Daddy-mammy.  A  familiar  name  for 
the  roll  on  the  side-drum. 

Da'gli,  dai,  dal,  dall',  dal'Ia,  dal'le, 
dal'lo  (It.)  To  the,  by  the,  for  the, 
from  the,  etc. 

Dal  se'gno  (It.)     See  Segno. 

Damenisa'tion.  (See  Solmisation) 
Graun's  system  of  sol-faing  with  the 
syllables  da,  me,  «/,  po,  tii,  la,  be, 
which  are  not  (like  do,  re,  mi,  etc.)  at- 
tached to  special  scale-degrees,  but  sim- 


ply repeated  over  and  over  in  the  above 
order,  whatever  may  be  the  notes  sung. 
Damper,  i.  (Ger.  Ddm'pfer ;  Fr.  ^touf- 
foir  ;  It.  sordi'no.)  A  mechanical  de- 
vice for  checking  the  vibration  of  a 
pfte. -string  (see  Pianoforte). .  .  Damper- 
pedal,  the  right  or  loud  pedal  of  the 
pfte. — 2.  The  mute  of  a  brass  instr., 
e.  g.  a  horn. 

Dam'pfer  (Ger.)  A  damper  or  mute. . . 
Ddm'pfitng  ("damping"),  the  damp- 
ing-mechanism of  the  pfte. 

Dance.  (Ger.  Tanz ;  Fr.  danse ;  It. 
dan'za.)  A  succession  of  rhythmical 
steps,  skips,  or  leaps,  accompanied  by 
varying  movements  of  the  body,  and 
generally  timed  by  music  (in  primitive 
nations,  simply  by  beating  on  a  drum 
or  the  like). 

Darm'saite  (Ger.)     Gut  string. 

Dash.  I.  A  staccato-mark  (J  or  f). — 2. 
In  thorough-bass,  a  stroke  through  a 
figure,  indicating  the  raising  of  the  in- 
terval by  a  semitone  (2  y,  etc.) — 3.  Same 
as  CouU  2. 

Dasian'-Notie'rung  (Ger.)  Hucbald's 
system  of  noting  a  scale  of  18  tones  by 
twisting  and  turning  the  letter  F  into 
14  different  positions  and  shapes,  with 
4  additional  signs. 

Dau'men  (Ger.)  Thumb..  .Dau'menauf- 
satz,  thumb-positions  (in  'cello-playing). 

Dead-march.     A  funeral  march. 

De'bile,  De'bole    (It.)     Feeble,  weak. 

D6but(Fr.)  A  first  appearance. .  .Dcbu- 
iant{e),  a  male  (female)  performer  or 
singer  appearing  for  the  first  time. 

Dec'achord.  (Fr.  decacorde.)  i.  A  10- 
stringed  instr.,  an  ancient  species  of 
harp  or  lyre. — 2.  An  obsolete  French 
instr.  of  the  guitar  kind,  having  10 
strings. 

Dec'ad(e).     See  Duodene. 

Deca'ni.     Comp.  Cantoris. 

De'cem  (Ger.)     See  Decima  2. 

D^chant  (Fr.)     Discant. 

Decid6  (Fr.)   See  Deciso. 

De'cima(Lat.  and  It.)  i.  The  interval 
of  a  tenth. — 2.  An  organ-stop  pitched 
a  tenth  higher  than  the  8-foot  stops  ; 
also  called  Tenth,  or  Double  tierce. 

De'cime.     See  Dezime. 

Decimo'le  (Ger.)     See  Decuplet. 

Deci'so  (It.)  Decided,  energetic,  with 
decision. 


DECKE— DERIVE. 


55 


Deck'e  (Ger.)  Belly  (of  the  violin,  etc.) ; 
belly  or  soundboard  (of  the  pfte.) 

Declaraan'do  (It.)  "Declaiming";  in 
declamatory  style. 

Declamation.  In  vocal  music,  the  cor- 
rect enunciation  of  the  words,  especially 
in  recitative  and  dramatic  music.  (Comp. 
Deklautation.) 

Decompose  (Fr.)     Unconnected. 

D^compter  (Fr.)  To  sing  with  a  porta- 
mento. 

D6couplez  (Fr.)  In  organ-music,  "  un- 
couple," "coupler  off." 

Decrescen'do  (It)  Growing  softer; 
diminishing  in  force      Sign  zr==- 

Dec'uplet.  A  group  of  lo  equal  notes 
executed  in  the  time  proper  to  8  notes 
of  like  value,  or  to  4  notes  of  the  next 
highest  value ;  marked  by  a  slur  over 
or  under  which  a  figure  10  is  set.  (Also 
Decimole,  Dezimole.) 

Deduc'tio  (Lat.)  i.  The  ascending 
series  of  syllables  or  tones  in  the  hexa- 
chords  of  Guido  d'Arezzo. — 2.  Ace.  to 
later  theoreticians,  the  resolution  of  a 
dissonance  to  a  consonance. 

Defective.     Same  as  Diminished. 

Deficien'do  (It.)     Dying  away. 

De'gli  (It.)    Of  the  ;  than  the. 

Degree.  (Ger.  Stu'fe,  Ton' sUife ;  Fr. 
degre ;  It.  g>-a'do.)  I.  One  of  the  8 
consecutive  tones  in  a  major  or  minor 
diatonic  scale.  Degrees  are  counted 
from  below  upward,  the  key-note  being 
the  first  degree. — 2.  A  line  or  space  of 
the  staff." 3.  A  step.  (The  prevailing 
confusion  of  the  terms  degree  and  slep 
might  be  obviated  by  applying  degree 
only  to  the  tones,  and  s/ep  only  to  pro- 
gression between  conjunct  tones,  of  the 
scale  ;  the  expressions  whole  step,  half- 
step,  andstep  and  a  half,  are  quite  super- 
fluous.)...  5r<2/t'-(/t'^AVi',  a  degree  of  a 
scale.. .  Staff-degree,  a  degree  on  the  staff. 

Deh'nen  (Ger.)  To  expand,  extend  ;  to 
^volomg. .  .Deh'nnng,  expansion,  ex- 
tension, prolongation  ;  Dch'nungs- 
strich,  in  vocal  music,  a  line  of  contin- 
uation after  a  syllable,  indicating  that  it 
is  to  be  sung  to  all  notes  over  the  line  ; 
dots  are  sometimes  used  instead . .  . 
Gedehnt' ,  extended,  prolonged  ;  hence, 
slow,  stately. 

Dei  (It.)     Of  the  ;  than  the. 
Deklamation'   (Ger.)      Musico-poetical 
scansion. — "  In  vocal  composition,  the 
transformation    of  the   poetic    rhythm 


(metre)  into  a  musical  one  ;  a  song  is 
badly  deklamiert'  when  an  unaccented 
syllable  receives  a  strong  musical 
accent  or  a  long  note ;  or  when  an 
accented  syllable,  or  a  word  rendered 
prominent  by  the  sense,  receives  a  sub- 
ordinate position  in  the  melody  on  a 
weak  beat  or  in  short  notes."  [Riemann.] 

Del,  deir,  delTa,  del'le,  del'lo  (It.)  Of 
the  ;  than  the. 

Delassement  (Fr.)  A  piece  or  perform- 
ance of  a  light  and  trifling  character. 

Deliberamen'te  (It.)  Deliberately... 
Delibera'to,  deliberate. 

Delicatamen'te,  con  delicatez'za  (It.) 
Delicately.  .  ./W/V(?'/(',  delicate;  in  a 
delicate,  refined  style. 

D61i6  (Fr.)     N'on  legato  ;  leggero. 

Deli'rio  (It.)  Frenzy  ;  con  </. ,  with  fren- 
zied passion. 

Delivery.  Style  (method  and  manner  of 
singing) ;  restrictedly,  the  enunciation 
of  a  singer. 

D6manch6,  D€manchement  (Fr.)  "Off 
the  neck "  ;  the  thumb-positions  in 
'cello-playing. .  .  De/nancher,  to  quit  the 
neck  of  the  'cello. 

Demande  (Fr.)  "Question,"  i.  e.  the 
subject  of  a  fugue.     (Usually  sujet.) 

Demi  (Fr.,  "half".)  Demi-bdton,  2- 
measure  rest.  .  .Demi-cadence,  haXi-ca.- 
6.e.nc&.  .  .Deini-croche,  a  l6th-note... 
A  demi-jeu  (a  direction  found  mostly  in 
reed-organ  or  harmonium-music),  with 
half  the  power  of  theinstr.,  mezzo  forte. 
.  .De>ni-mes7(re,  half-measure.  .  .Demi- 
pause,  half-rest.  .  Demi-quart  de  soupir, 
a  32nd-xQsX.. .  .Demi-soitpir,  an  eigh- 
teenth rest. .  .  Demi-temps,  a  half-beat . . . 
Demi-ton,  a  semitone. 

Demiquaver.  A  \b\}L\-no\.t..  .  .Demi se- 
miquaver, a  i^XiA-woi^.  .  .Demi tone, 
rare  for  Semitone. 

Demoiselle  (Fr.)     Tracker. 

Dependent  chord,  harmony,  triad. 
One  which  is  dissonant,  requiring  reso- 
lution to  a  consonant  one  ;  opp.  to  In- 
dependent. 

Depress.  Tolower(asby  af?  or  hh)... De- 
pression, chromatic  lowering  of  a  tone. 

Derivative,  i.  SiSimQas  derivative  chord, 
i.  e.  the  inversion  of  a  fundamental 
chord. — 2.  The  root  of  a  chord. 

D6rivd(e)  (Fr.,  "derived,  derivative".) 
Accord  d(^rive',  inverted  chord  (also 
simply  derive,  an  inversion) . .  .  Mesure 


56 


DES— DIAPASON. 


d/riv/e,  any  measure  indicated  by  2 
figures  (2-4,  3-8,  etc.)  as  being  derived 
from,  i.  e.  a  fractional  part  of,  a  whole 
note. 

Des  (Ger.)     Db . .  .Des'es,  Df^b- 

Des'cant.     See  Discant. 

Descend.  To  pass  from  a  higher  to  a 
lower  pitch.  .  .Descent,  descending  pro- 
gression. 

Deside'rio  (It.)  Desire,  longing. . .  Com 
</. ,  in  a  style  expressive  of  longing, 
yearning. 

D6smvolture,  avec  (Fr.)      See   Disin- 

voho. 

Dessin  (Fr.)  The  design,  plan,  or  struc- 
ture of  a  composition. 

Dessus  (Fr.)  i.  Soprano  or  treble,  i.  e. 
the  highest  vocr.1  part. — 2.  Earlier 
name  for  the  violin  {dessus  de  viole). 

De'sto  (It.)     Sprightly. 

De'stra  (It.)  Right.  .  .J/<z';/o  destra,\ 
right  hand  (also  destra  tnauo,  coUa  de- 
strii) ;  a  direction  in  pfte.-plapng,  sig- 
nifying that  the  passage  is  to  be  played 
with  the  right  hand.  (Abbr.  ;;/.  d.,  or 
d.  m.) 

D^tach^  (Fr.)  In  violin-playing,  de- 
tached, i.  e.  playing  successive  notes 
with  alternate  down-bow  and  up-bow, 
but  not  staccato ...  6'rr7«i/  de'tacht',  a 
whole  (stroke  of  the)  bow  to  each  note. 

Determina'to(It.)  Determined,  resolute. 

Detonation'  (Ger.),  D6tonnation  (Fr.) 
False  intonation,  singing  out  of  tune.  .  . 
Detonieren  {dt'tonner),  to  sing  false  ; 
especially,  to  flat  (gradually  lower  the 
pitch)  in  a  cappella  singing. 

Det'to  (It.)    Aforesaid  ;  the  same. 

Deutsch  (Ger.)  German ...  Z't'^'/j-c/^c' 
Fiote,  the  orchestral  flute .  .  .  Den' tscher 
Bass,  an  obsolete  kind  of  double-bass, 
having  from  5  to  6  gut  strings.  .  .Deu- 
tsche 7\ihulaiitr' ,  see  Tablature. . . 
Deutsche  Tiin'ze,  German  dances,  i.  e. 
the  old-fashioned  slow  waltzes. 

Deux  (Fr.)  Two.... 4  deux  mains,  for 
2  hdiTids.  .  .Deux-ijuatre,  2-4  (see  Me- 
sure). .  .Deux-temps,  or  Valse  a  deux 
temps,  a  quick  waltz,  with  6  steps  to 
every  2  of  the  ordinary  waltz  {trois 
temps'). 

Deuxifeme   position   (Fr.)     Half-shift. 

Development.  (Ger.  Durch'fiihrung.) 
The  working-out  or  evolution  of  a 
theme  by  presenting  it  in  varied  melo- 
dic, harmonic,  or  rhythmic  treatment ; 


ordinarily  applied    to  formal   composi- 
tions   like    the   fugue  or  sonata.     (See 
Form.) 
Devo'to  (It.)     In  a  devotional  style  {con 
dcvozio'  ?ie). 

Dex'tra  (Lat.)  Right . .  .Manns d. ,  right 
hand. .  .Manu  d.,  with  the  right  hand. 

De'zem  (Ger.)     See  Decima. 

De'zime  (Ger.)     The  interval  of  a  tenth. 

Di  (It.)     Of.  from,  to,  etc. 

Diagram'ma  (Gk.)  A  diagram,  i.  The 
Greek  written  scale  of  15  notes,  divided 
into  the  various  tetrachords. — 2.  In 
old  music,  the  staff  and  the  scale  writ- 
ten on  it ;  also,  a  score  or  partition. 

Dia'logo  (It.),  Dialogue  (Fr.)  A  duet 
for  2  solo  voices  or  divided  chorus  ;  or 
a  similar  instrumental  piece. 

Diapa'son  (Gk.)  An  octave  (in  ancient 
Greek  and  in  medieval  nm^xz) ...  Dia- 
pason diapente,  or  diapason  con  dia- 
pente,  an  octave  plus  a  fifth,  a  twelfth. 
.  .Diap.  diatessaron  {diap.  con  diates- 
saron),  an  octave  plus  a  major  fourth,  a 
major  eleventh. .  .Z'/a/.  ditone,  an  oc- 
tave plus  a  major  third,  a  major  tenth. 
. -Diap.  semi-ditone,  an  ocia.\i^  plus  a 
minor  third,  a  minor  tenth. 

Diapa'son  (Engl.)  i.  An  octave. — 2. 
Either  of  the  2  principal  foundation- 
stops  of  the  organ,  the  open  diapason 
and  the  stopped  diapason,  both  com- 
monly of  8-foot  pitch;  if  there  are  2  op. 
diap.s  on  a  manual,  one  is  sometimes  of 
16'  pitch  ;  pedal-diapasons  are  generally 
16'  stops. — The  opoi  d.  has  metal  pipes 
open  at  the  top,  and  usually  of  large 
scale,  though  the  scale  differs  when  2 
or  more  diapasons  are  on  one  manual ; 
the  tone  is  bright,  full,  and  sonorous. 
. .  The  stopped  d.  has  wooden  pipes  of 
large  scale,  closed  at  the  top  by  wooden 
plugs,  and  yielding  a  powerful  fluty, 
and  somewhat  hollow,  tone. — 3.  Com- 
pass of  a  voice  or  instr.;  chiefly  poetical. 

Diapason  (Fr.)  i.  Compass  of  a  voice 
or  instr. — 2.  A  rule  or  scale,  ace.  to 
which  makers  of  various  instr.s  regu- 
late the  size  of  the  latter,  and  that  of 
their  parts. — 3.  An  organ-stop  (dia- 
pason).— 4.  A  tuning-fork  or  pitch-pipe. 
— 5.  Absolute  Y>\\.c\i.  .  .Diapason  nor- 
mal, the  standard  pitch  or  -A  1  - 
scale  adopted  in  1859  by  the  ^ — » — 
French  Academy,  in  which  t?'  vf 
has  870  single  or  435  double  vibrations 
per  second  of  time  (so-called  "  inter- 
national pitch  "). 


DIAPENTE— DIMINISHED. 


57 


Diapen'te  (Gk.  and  Lat.)  The  interval 
of  a  fifth. .  .D.  cum  ditono,  a  major  7th. 
.  .D.  ctiin  semiditono,  minor  7th.  .  .D. 
cum  semitonio,  minor  6th .  .  .D.  cum 
tono,  a  major  6th. 

Diapenter  (Fr.),  Diapentisa're  (It.) 
To  progress  by  skips  of  a  fifth. 

Diaph'ony.  {Gk.  diaphoni'a.)  I.  A  dis- 
sonance.— 2.  See  Organum. 

Diaschis'ma  (Gk.)  The  difference  be- 
tween the  second  tierce  below  the  4th 
quint  in  the  descending  circle  of  fifths, 
and  the  3rd  octave  below  the  given  tone 
{c:d\)\)  ::  2025:  2048). 

Diaste'ma  (Gk.)    An  interval. 

Diates'saron  (Gk.)  The  interval  of  a 
fourth. 

Diaton'ic.  i.  See  Grcgk  music,  §2. — 
2.  (In  modern  usage.)  By,  through, 
with,  within,  or  embracing  the  tones  of 
the  standard  major  or  minor  scale... 
Diatonic  instr.,  one  yielding  only  the 
tones  of  that  scale  of  which  its  funda- 
mental tone  is  the  key-note.  .  .Diatonic 
interval,  one  formed  by  2  tones  of  the 
same  standard  scale.  .  .Diatonic  har- 
mony or  melody,  that  employing  the 
tones  of  but  one  scale.  .  .Diatonic  mod- 
ulation, see  Modulation.  .  .Diatonic 
progression,  stepwise  progression  within 
one  scale.  .  .Diatonic  scale,  see   Scale. 

Diau'los  (Gk.)  A  double  aulos,  the 
tubes  meeting  in  an  acute  angle,  and 
connected  by  and  blown  through  a  com- 
mon mouthpiece. 

Diazeuc'tic  (Gk.)  Disjoined  (see  Greek 
music,  §1). .  .Diazeu'xis,  the  separation 
of  2  neighboring  tetrachords  by  the  in- 
terval of  a  tone  ;  also,  the  tone  itself. 

Di'brach,  Di'brachys.  A  metrical  foot 
consisting  of  2  short  syllables  ("-'  ^) ;  a 
pyrrhic. 

Di'chord.  i.  An  ancient  species  of 
harp  or  lute  having  2  strings. — 2.  Any 
instr.  having  2  strings  to  each  note. 

Dicho'ree,  Dichore'us.  A  double  cho- 
ree or  trochee  ;  a  metrical  foot  consist- 
ing of  2  long  and  2  short  syllables  in  al- 
ternation ( —  «-  —  -^). 

Dict^e  musicale  (Fr. ,  "musical  dicta- 
tion".) A  modern  method  of  training 
the  faculty  of  musical  apprehension,  in 
which  the  teacher  plays  or  sings  short 
phrases  which  the  pupils  take  down  on 
paper. 

Diecet'to  (It.)    A  piece  for  10  instr.s. 


Diesa're  (It.)  To  sharp. .  .Z>iV'j-:/,  a 
sharp. 

Di^ser  (Fr.)    To  sharp..  .Dihe,  a  sharp. 

Dies  irae  (Lat.,  "day  of  wrath".)  The 
sequence  of  the  Missa  pro  defunctis  ; 
it  now  forms  the  2nd  division  of  the 
Requiem. 

Di'esis  (Gk.)  I.  The  Pythagorean 
semitone  (later  Limma),  which  is  the 
difference  between  a  fourth  and  2 
greater  whole  tones,  =  256:243.  —  2.  In 
modern  theory,  the  difference  between 
an  octave  and  3  major  thirds,  the  mod- 
ern enharmonic  diesis  (128:125). 

Diezeug'menor  (Gk.)  Disjoined  (see 
Greek  music,  §l). 

Difference-tone.     See  Acoustics. 

Differen'tia  (Lat.)  The  differen'tice 
tono' rum  in  the  medieval  Gregorian 
chants  were  the  different  forms  of  the 
cadences  or  tropes  to  the  .Seculo'rum 
a' men,  according  to  the  tone  to  which 
transition  was  to  be  effected.  (.\lso 
distinctio.) 

Diffi'cile  (It.),  Diffici'le  (Fr.)   Difficult. 

Dig'ital.  A  key  on  the  keyboard  of  the 
pfte.,  organ,  etc.;  opp.  to  pedal  {Jin- 
ger-kay  opp.  io  foot-key). 

Digito'rium.  A  small  portable  appara- 
tus for  exercising  the  fingers,  resem- 
bling a  diminutive  piano  in  shape,  and 
having  5  keys  set  on  strong  springs  ; 
sometimes  called  Dumb  piano. 

Di  gra'do  (It.)  (Progression)  by  de- 
grees, step-wise. 

Diiamb',  Diiam'bus.  A  double  iam- 
bus ;  a  metrical  foot  consisting  of  2 
short  and  2  long  syllables  in  alternation 

Dilettart'.  {It.dilettan'te)  An  amateur. 

Diligen'za  (It.)    Diligence,  care. 

Dilu'dium  (Lat.)  An  interlude,  espe- 
cially that  between  the  separate  lines  of 
chorals. 

Diluen'do  (It.)  Decreasing  in  loudness, 
dying  away. 

Dim'eter.  i.  Consisting  of  2  measures  ; 
divisible  into  2  feet. — 2.  A  verse  or 
period  consisting  of  two  feet. 

Diminished.  (Ger.  verklei'nert;  Fr.  di- 
minue(e)  ;  It.  diminu'to.)  Dim.  inter- 
val, a  perfect  or  minor  interval  con- 
tracted by  a  chromatic  semitone. .  .Dim. 
chord,  a  chord,  the  highest  and  lowest 
tones  of  which  form  a  dimin.  interval. 
.  .Dim.  subject  or  theme,  one  repeate«> 


58 


DIMINUENDO— DISSONANCE. 


or  imitated  in  diminution. .  .Dim.  triad, 
a  root  with  minor  third  and  dimin.  fifth. 

Diminuen'do  (It)  Diminishing  in  loud- 
ness. .  .Dim. pedal^  see  Pidal. 

Diminuer  (Fv.)  To  diminish  (in  loud- 
ness)...>£«  diininuant  beaiicoup,r^tX\- 
minuendo  molto. 

Diminution.  (Ger.  Verklei'nerung ;  Fr. 
diminution ;  It.  diminuzio'ne.)  i.  The 
repetition  or  imitation  of  a  theme  in 
notes  of  sm.-dler  time-value  (^,  ^,  or 
^  that  of  the  original). — 2.  See  A'ota- 
tion,  §2. 

Dioxia  ((jk.)  Less  common  term  for 
Diapcnte. 

Dip.  The  vertical  fall  of  a  digital  or  pedal 
when  depressed  to  the  full  extent ;  also 
key- fall. 

Dipho'nium  (Lat.)  A  composition  for 
2  voices. 

Diphtho'nia.  A  vocal  anomaly  produced 
by  inflammatory  nodules  seated  on  the 
vocal  cords,  which  on  closure  of  the 
latter  divide  the  glottis  into  an  anterior 
and  a  posterior  half,  so  that  2  tones  are 
sounded  on  singing,  instead  of  one. 

Diplas'ic.  'Yvio-io\A....D.  footov  rhythm, 
that  in  which  the  thesis  has  twice  the 
length  of  the  arsis. 

Dip'ody.  A  group  of  2  similar  metrical 
feet,  or  double  foot,  especially  when 
constituting  a  single  measure. 

Direct,  i.  (Ger.  and  Lat.  Cus'tos  ; 
Fr.  guidon  ;  It.  gni'da,  ?no'stra.)  The 
sign  /w  or  %/  set  at  the  end  of  a  staff  to 
show  the  position  of  the  first  note  on 
the  next  staff.  (N.  B.  The  Germans 
often  use  it  as  a  mere  mark  of  continu- 
ation equivalent  to  "etc.",  without 
reference  to  the  pitch  of  any  note.) — 2 
See  Alotion  and  Turn. 

Directeur  (Fr.)     Conductor,  director 

Dirge.  A  funeral  hymn,  or  similar 
music. 

Dirigent'  (Ger.)     Conductor,  director. 

Diriger  (Fr.),  Dirigie'ren  (Ger.)  To 
direct,  conduct. 

Dirit'to,-a  (It.)  Direct,  straight. .  .yi //a 
dirit'ta,  in  direct  motion. 

Dis  (Ger.)     T>^. .  .Disis,  D  x  . 

Dis'cant.  i.  (Lat.  discan'tus ;  Ger. 
Diskant' ;  Fr.  dr'chant.)  The  first  at- 
tempts at  polyphony  with  contrary  mo- 
tion in  the  parts,  beginning  in  the  12th 
century ;    opp.    to    the    organum,    in 


which   parallel    motion   was   the  rule. 
— 2.     (Fr.  dessus.)     Treble  or  soprano 
voice ;  the  highest  part  in  part-music. 
Discord,     i.    A   dissonance. — 2.    Caco- 
phony. 

Discre'to  (It.)  Discreet  ;  comparatively 
s\xhdn&i^...Discrfzio'ne,  discretion;  con 
discrezicnt',  with  discretion  or  due  re- 
serve ;  with  judicious  subordination  to 
a  leading  part  or  parts. 

Disdiapa'son  (Gk.,  Lat.)  In  medieval 
music,  the  interval  of  a  double  octave. 

Dis'dis  (Ger.)     Dx  (usually  Z>?jz'j). 

Disinvol'to  (It.)  Free,  easy,  graceful. 
. .  Con  disinvoltu'ra,  with  ease,  grace  ; 

Dis'is  (Ger.)     Dx.  [flowingly. 

Disjunct'.  (Fr.  disJoint,-e.)  See  Motion, 
Tf  trac  ho  rd  {disjoined). 

Diskant'  (Ger.)  i.  Discant.  treble. — 
Diskant' geige,  the  violin  (the  treble 
instr.  of  its  class) . . .  Diskantist' ,  treble 
singer. .  .Diskant^ register,  Diskant"' 
stimme,  in  the  organ,  a  half-stop  (also 
Hal'bestimme). .  .Diskant' schlussel^  so- 
prano-clef. 

Dispar'te,  in  (It.)     Aside. 

Dispera'to  (It.)  Desperate,  hopeless. . . 
Dispcrazio'ne,  con,  in  a  style  expres- 
sive of  desperation  or  despair. 

Dispersed.     See  Harmony. 

Dispon'dee,  Disponde'us.  A  double 
spondee ;  a  compound  metrical  foot 
containing  2  spondees. 

Disposition'  (Ger.)  The  D.  of  an  organ 
is  properly  the  preliminary  estimate  of 
its  cost,  fixing  the  varieties  of  stops, 
number  of  manuals,  etc. ;  but  also 
signifies  a  concise  description  of  the 
working  parts  of  a  finished  organ, 
especially  an  enumeration  of  the  stops, 
couplers,  combination-stops,  etc. 

Disposition  (Fr.)     Gift,  talent,  genius. 

Dis'sonance.  (Ger.  Dissonanz';  Fr. 
dissonance;  It.  dissonan'za.)  i.  In 
theory,  the  simultaneous  sounding  of 
tones  so  remotely  related  that  their 
combination  produces  beats. — 2.  In 
practice,  a  combination  of  2  or  more 
tones  requiring  resolution  ;  opp.  to 
Consonance.  .  .Dissonant,  consisting  of 
tones  forming  a  dissonance  2  ;  opp.  to 
consonant. .  .Dissonant  interval,  2  tones 
forming  a  dissonance.  The  dissonant 
intervals  are  the  seconds  and  their  in- 
versions, the  sevenths,  also  all  dimin- 
ished  and   augmented   intervals... Z>i>« 


DISSONARE— DOH. 


59 


sonant  chord,  a  chord  containing  one 
or  more  diss,  intervals. 

Dissona're  (It.)  To  be  dissonant,  to 
form  a  dissonance. 

Distance.     Interval.     [Seldom  used.] 

Distan'za  (It.)  An  interval  ;  distance... 
In  distanza,  at  a  distance,  marking 
music  to  be  performed  as  if  far  away. 

Dis'tich.  A  group  of  2  lines  or  verses  ; 
usually  called  couplet  in  modern  rhym- 
ing versification. 

Distinc'tio(Lat.)  i.  In  Gregorian  music, 
the  pauses  or  breaks  dividing  vocal 
melodies  into  convenient  phrases. — 2. 
.See  Differentia. 

Distin'to  (It.)  Distinct,  clear... Z*/- 
stintamen'te,  distinctly. 

Distona're  (It.)  To  sing  or  play  out  of 
tune  ;  also  stonare. 

Dit'al.  A  key  which,  on  pressure  with 
the  finger  or  thumb,  raises  the  pitch  of 
a  guitar-string  or  lute-string  by  a  semi- 
tone ;  opp.  to  pedal.  .  .Dital  harp,  a 
chromatic  lute  shaped  like  a  guitar, 
having  from  12  to  i3  strings,  each  con- 
trolled by  a  dital  to  raise  its  pitch  by  a 
semitone;  inv.  by  Light  in  1798,  and 
later  improved  by  him.  ((Jomp.  Klavier- 
Harfe.) 

Diteggiatu'ra  (It.)     Fingering. 

Dith'yramb,  Dithyram'bus.  A  form 
of  Greek  lyric  composition,  originally 
a  hymn  in  praise  of  Dionysus  ;  later 
greatly  modified.  Its  leading  char- 
acteristics were  a  lofty  enthusiasm, 
frequently  degenerating  into  bacchantic 
wildness  (whence  the  adj.  dithyram'bic), 
and  the  irregular  form  of  its  strophes, 
no  two  of  which  were  identical. 

Di'to  (It.)     Finger. 

Ditone.  (Lat.  di' tonus;  Fr.  diton.)  A 
Pythagorean  major  third  of  2  greater 
whole  tones  (81:64);  wider  by  a 
comma  than  a  true  major  third  (5  : 4). 

Ditro'chee,  Ditrochae'us.  A  compound 
metrical  foot  consisting  of  2  trochees 
(-^^  —  — ) ;  also  Dichoree. 

Ditty.  .\  short,  simple  song. 
Divertimen'to  (It.)  1  j,  a  short  poem 
Divertissement  (Fr.)  \  set  to  music, 
and  interspersed  with  songs  and  dances, 
for  some  special  occasion. — 2.  Light  and 
easy  pieces  of  instrumental  music,  such 
as  variations,  potpourris,  etc. — 3.  An 
instrumental  composition  in  6  or  7 
movements,  similar   to   a  serenade  or 


cassation. — 4.  An  entr'acte  in  an  opera, 
or  between  compositions  of  consider- 
able length,  in  the  form  of  a  short 
ballet  or  other  entertainment. — 5.  Epi- 
sode in  a  fugue  ;  development  of  a 
principal  theme. 

Divide.     To  play  divisions. 

Divi'si  (It.)  Divided.  A  direction  in 
scores  signifying  that  2  parts  appearing 
on  one  and  the  same  staff  are  not  to  be 
played  as  double-stops,  but  by  the 
division  into  two  bodies  of  the  instr.s 
playing  from  that  staff.  The  return  to 
the  unison  is  marked  by  the  direction 
a  due,  (or  by  iciiis.,  or  a  2). 

Division.  A  "  dividing-up  "  of  a  mel- 
odic series  of  tones,  vocal  or  instru- 
mental, into  a  rapid  coloratura  pas- 
sage ;  if  for  voice,  the  passage  was  to 
be  sung  in  one  breath.  (Obsolete.). .. 
To  run  a  division,  to  e.xecute  such  a 
■passagQ. .  .Division-viol,  the  Viola  da 
ganiba. 

Division-mark,  A  slur  connecting  a 
group  of  notes,  and  provided  with  a 
figure  indicating  their  number,  show- 
ing that  their  rhythm  differs  from  the 
ruling  rhythm  of  the  piece  ;  as  for  a 
quintuplet,  triplet,  etc. 

Divo'to,  Divotamen'te.     See  Devoto. 

Dixi^me  (Fr.)     The  interval  of  a  tenth. 

Do.  The  Italian  name  for  C;  supposed 
to  have  been  introduced  by  Bononcini 
in  1673.  It  is  now  also  generally 
adopted  in  France  instead  of  the 
Aretinian  Ut. 

Do.  In  solmisation,  the  usual  syllable- 
name  for  the  1st  degree  of  the  scale. — • 
In  the  y?.rt'(/-Z>c7  method  of  instruction, 
Do  is  the  name  for  all  notes  bearing  the 
letter-name  C,  whether  key-notes  or 
not. — In  the  movable-Do  method.  Do 
is  always  the  key-note,  whatever  key  is 
.sung  in  or  modulation  reached. — In  the 
Tonic  Sol-fa  system,  spelled  Doh. 

Doch'mius.  A  metrical  foot  consisting 
of  5  syllables  (^ ^  ^  — ). 

Doctor  of  Music.     See  Bachelor. 

Dodecachor'don  (Gk.)  i.  See  Bissex. 
— 2.  A  treatise  by  Glareanus  (1547)  on 
the  theory  of  the  12  keys  or  modes. 

Dode'cupla  di  cro'me  (It.)  12-8  time; 
di  semicrome,  12-16  time. 

Dodec'uplet.  A  group  of  12  equal  notes 
to  be  performed  in  the  time  of  8  in  the 
regular  rhythm. 

Doh.     See  Do. 


6o 


DOI— DOT. 


Do'i  (It.)     Same  as  Due. 

Doigt  (Fr.)  Finger ...  Z'w^//,  fingered. 
. .  Doigt  J,  or  doigtt-r,  fingering  ;  doig- 
ti's  Jourchus,  cross-fingerings. 

Dorcan.     See  Dukia'iia. 

C)Dorce(It.)  I.  Sweet,  soft,  suave  ;  dol- 
cenicn'  te,  sweetly,  softly. — 2.  A  sweet- 
toned  organ-stop. 

Dolcez'za    (It.)      Sweetness,    softness ; 

coil  J.,  softly,  gently. 
Dolcian'  (Cer.),  Dolcia'na,  Dolcia'no 

(It.)  I.  A  epecies  of  bassoon  in  vogue 
during  the  l6th  and  17th  centuries.— 2. 
In  the  organ,  a  reed-stop  of  8  or  16- 
foot  pitch  ;  3.  fagotto. 

Dolcia'to  (It.)     See  Raddolciato. 

Dolcis'simo  (It.)  Very  sweetly,  softly. 
. .  Also,  a  very  soft-toned  S-foot  flute- 
stop  in  the  organ. 

Dolen'do,  Dolen'te  (It.)  Do'eful,  plaint- 
ive, sad.  .  .Dolcntemen'tc,  dolefully,  etc. 

Dolo're  (It.)  Pain,  grief  ;  con  dolorc\  in 
a  style  expressive  of  pain  or  grief ; 
pathetically  (also  dolorosamcn' te,  dolo- 
ro'  so). 

Dolz'flote  (Ger.;  Fr.  flute  douce ;  It. 
fla'uto  dol'ce.)  i.  An  obsolete  trans- 
verse flute,  having  a  half-plug  within 
the  embouchure. — 2.  In  the  organ,  an 
open  flute-stop  of  rather  narrow  scale 
and  8-foot  pitch. 

Dom'chor  (Ger.)     Cathedral-choir. 

Dom'inant.  i.  (Ger.,  Fr.,  and  It. 
Doffiinan'te.)  The  fifth  tone  in  the 
major  or  minor  scale . .  .D.  chord,  (n) 
the  dominant  triad  ;  (/^  the  dom.  chord 
of  the  7th. .  .D.  section,  of  a  movement, 
a  section  written  in  the  key  of  the  domi- 
nant, lying  between  and  contrasting 
with  two  others  in  the  key  of  the  tonic. 
.  .D.  triad,  that  having  the  dominant  as 
root. — 2.  The  reciting-tone  in  the  Gre- 
gorian modes. 

Dona  nobis  pacem.     See  A/ass. 

Doodlesack.     See  Ger.  Dudelsack. 

Do'po  (It.)    After. 

Dop'pel-  (Ger.)  T)ovih\&. .  .Dof pel- B, 
Dop'pelbe,  the  double-flat.  .  .Z'c/'/'^/- 
blatt,  double  reed. .  .Dop'pelchor,  double 
chorus. . .  Dop'pelfagott,  double-bassoon. 
..Dop'pelflote  (Duiflote),  (It.  fla'uto 
dop'pio),  an  organ-register  of  8- foot 
stopped  pipes,  each  pipe  having  2 
mouths,  2  windways,  etc.,  one  on  either 
side  (behind  and  in  front)  like  the  Bi- 


fara,  but  at  exactly  the  same  height,  so 
that  the  tone  does  not  beat,  but  is 
merely  reinforced .  . .  Dop'pelfliigel,  see 
ris-a-2'is...Dop'pelfuge,  a  double  fugue 
or  canon . .  .  Dop'pelgeige,  viola  d'amore. 
. .  Dop'pelgriff,  double-stop  (on  the  vio- 
lin), paired  notes  (on  keyboard-instr.s  ; 
e.  g.  thirds,  sixths,  and  octaves). . . 
Dop'peloktave,  double  octave ...  Z><?/'- 
pclpHnkt,Ao\x\Ae.  dot  {^..). .  .Dop'pel- 
quintpoiunier,  a  large  variety  of  'hova- 
havd.  .  .Dop'pelschlag,  a  tnrn .  .  . Dop' - 
pelzunge,  double-tonguing. 

Dop'pio  (It.)  Double.../?,  movimen'to, 
twice  as  fast...Z>.  vo'te,  d.  valo're, 
twice  as  slow  (absolute  time-value  of 
notes  is  doubled). .  .i^./tv/rt'/t? (in  organ- 
playing),  the  pedal-part  in  octaves. . . 
Doppio  signifies,  with  names  of  instr.s, 
larger  in  size  and  consequently  deeper 
in  tone. 

Do'rian  or  Dor'ic  mode.     See  Mode. 

Dot.  (Ger.  Funl-t;  Yr.  point;  It.  pun'- 
to.)     I.  A  dot  set  after  a  note  prolongs 

its  time-value  by  half  {i:i-  =  =/*);    a 

second  dot  or  third  dot  prolongs  the 
time-value  of  the  dot  immediately  pre- 
ceding it  by  half  (^J.. .  ^  J     J    ^   •  ). 

(The  dot  after  a.note upon  a  line  is  pre- 
ferably written  above  the  line  when  the 
next  note  is  higher,  below  the  line  when 
it  is  lo'ver  : 


^: 


I&ZI 


The  dot  of  prolongation  was  formerly 
often   set   in   the   next  measure,  quite 
away  from  the  note  ;  a.  g. 
X  X 


which  we  now  write  : 


'VOf^ 


^^i=x 


^§^ 


— 2.  A  dot  set  over  or  under  a  note  in- 
dicates that  it  is  to  be  executed  staccato: 
(J  T) ;  a  slur  connecting  several  such 
dots  calls  for  the  mezzo-staccato.  (Some- 
times, especially  in  earlier  authors,  the 
staccato-dot  calls  rather  for  a  sforzando 
than  a  stac'-ato  ) — 3.  In  old  music,  sev- 
eral dots  set  above  a  note  indicate  that 
it  is  to  be  subdivided  into  so  many  short 

notes  (  p  ~  TTTT)  J  i^o'^  us^'i  °^*^''  ^ 
tremolo-sign    in  violin-music   to   mark 


DOUBLE— DRAMMA. 


6i 


the  exact  subdivision  of  the  large  note 


(= 


=  E 


jBarwwjrprp, 


).  —  4.   Two 

_ or  four  dots 

set  in  the  spaces  of  the  staff,  before  or 
after  a  double-bar,  form  a  lii-peat. 
Double.  I.  A  variation. — 2.  A  repetition 
of  words  in  a  song. — 3.  In  organ-play- 
ing, a  16-foot  stop  (as  accompanying  or 
doubling  the  8-foot  stops  in  the  lower 
octave). — 4.  In  the  opera,  etc.,  a  sub- 
stitute singer. — 5.  (Also  Grandsii-e.)  In 
change-ringing,  changes  on  5  bells. — 6. 
As  an  adjective  with  names  of  mus. 
instr.s,  double  signifies  "producing  a 
tone  an  octave  lower "  ;  e.  g.  doiible- 
bassoo7i,  double-bourdon,  etc. — 7.  The 
verb  double  signifies,  to  add  (to  any 
tone  or  tones  of  a  melody  or  harmony) 
the  higher  or  lower  octave. 

Double  (Fr.)  i  (pi.  doubles).  .See 
Variation. — 2.  The  alternativo  in  a 
minuet,  when  merely  a  variation  of 
the  principal  theme  and  retaining  the 
harmonic  basis  of  the  latter. — 3.  As  an 
adjective,  double ;  as  dottble-barre, 
double-bar  ;  d.  coup  de  langue^  double- 
tonguing  ;  double-croche,  a  i6th-note  ; 
etc. .  .Double  -  corde,  double-stop. .  . 
Double-inai)i ,  an  octave-coupler  (organ). 
.  .Double-octave,  double  octave,  ./^t'//- 
ble-touche,  a  mechanism  in  the  keyboard 
of  harmoniums,  etc.,  for  adjusting  the 
key-fall  at  2  different  levels,  with  corre- 
sponding differences  in  the  degree  of 
loudness  of  tone  produced ...  79^;/^/t'- 
triple,  3-2  time. 

Double  (Fr.)     A  turn. 

Double-bar.  (Ger.  Dop'peltaktstrich, 
Schluss' striche;  Fr.  double-barre;  It. 
dop'pio  bar'ra.)  i.  The  two  thick 
vertical  strokes  drawn  across  the  staff 
to  mark  the  end  of  a  division,  (repeat), 
movement,  or  entire  piece. — 2.  Two 
thin  vertical  lines 
(bars)  dividing  one 
section  of  a  move- 
ment from  the  next 
section: 

Double-bass.  (Ger.  A'on'trabass;  Fr. 
contre-basse;  violonar;  It.  contrabbas'- 
so!)  The  largest  and  deepest-toned 
instr.  of  the  violin  family  (with  the  e.\- 
ception  of  the  rare  conlrabbasso  doppio 
and  the  Octobass),  with  either  3  strings 
{Gi-D-A  being  the  Italian,  yii-Z)- 6'  the 
English  accordatura),  or  4  strings 
(tuned  Ey-Ax-D-G).  Compas_s: 


(I) 


(2) 


(the  German  tuning). 

Double-stop.  (Ger.  Dop'pelgriff;  Fr. 
double-corde;  It.  dop'pia  ferrna'ta.)  In 
violin-playing,  to  stop  2  strings  to- 
gether, thus  obtaining  2-part  harmony. 

Double-tongue.  (Ger.  Dop' pelzunge  ; 
Fr.  double  coup  de  langue.)  In  play- 
ing the  flute,  and  certain  brass  instr.s, 
applying  the  tongue  in  rapid  alterna- 
tion to  the  upper  front  teeth  and  the 
hard  palate,  to  obtain  a  clear-cut  and 
brilliant  staccato.  (Also  Double-tong- 
uing.) 

Double-trouble.  A  step  peculiar  to  the 
"breakdown." 

Doublette  (Fr.)  A  2-foot  organ-stop, 
octave  of  the  principal. 

Doublophone.  A  combined  Euphoni- 
um and  Valve-trombone,  with  one  com- 
mon mouthpiece  ;  a  valve  operated  by 
the  left  thumb  throws  the  current  of 
air  from  the  mouthpiece  into  the  tube 
of  either  instr.  at  will.  Inv.  by  Fon- 
taine Besson  of  Paris  in  1891. 

Doublure  (Fr.)     See  Double  4  (Engl.) 

Doucement.  (Fr.)  Gently,  softly... 
Doux,  douce,  soft,  gentle,  sweet. 

Douzi^me  (Fr.)  The  interval  of  a 
twelfth, 

Down-beat.  i.  The  downward  stroke 
of  the  hand  in  beating  time,  which 
marks  the  primary  or  first  accent  in 
each  measure. — 2.  Hence,  the  accent 
itself  (thesis,  strong  beat). 

Down-bow.  (Ger.  Ilerunterstrich;  Fr. 
tircz;  It.  arco  in  giic.)  In  violin-play- 
ing, the  downward  stroke  of  the  bow 
from  nut  to  point  ;  on  the  'cello  and 
double-bass,  the  stroke  from  nut  to 
point ;  usual  sign  f"]. 

Doxology  (Gk.)  A  psalm  or  hymn  of 
praise  to  God  ;  especially  the  Greater 
Z>.(Gloria  in  excelsis  Deo),  and  the 
Lesser  D.{Ci\or\a.  Patri,  etc.) 

Drag.  I.  A  rallentando. — 2.  A  A^- 
sccnding  portamento  in  lute-playing. 

Draht'saite  (Ger.)     Wire  string. 
Dramatic  music,   i.  Same  as  Program- 

viusic. — 2.     Music    accompanying   and 

illustrating    an    actual    drama    on    the 

stage. 
Dram'ma    (It.)     Drama. — D.    li'rico,  a 

lyric   drama.../?,  viusica'le,   a  music- 


62 


DRANGEND— DULCIMER. 


drama,  opera.../?,  per  inu'sica,  a 
musical  drama,  opera.  .  .Dranunatica- 
men'ie,  dramatically.  .  .Dramma'tico, 
dramatic. 

Drang'end  (tJer.)  Pressing,  hastening, 
hurrying. 

Draw-stop.  In  the  organ,  one  of  the 
projecting  knobs  within  easy  reach  of 
the  organist,  which,  when  drawn  out, 
shift  the  corresponding  slides  so  as  to 
admit  wind  to  the  grooves  communicat- 
ing with  a  set  of  pipes  or  a  combination 
of  stops,  or  else  effect  a  coupling. — 
Draw-stpp  action,  the  entire  mechan- 
ism controlled  and  set  in  operation  by 
the  draw-stops. 

Dreh'er  (Ger.)  An  obsolete  variety  of 
waltz  resembling  the  LdtuUer,  of  Bo- 
hemian or  Austrian  origin,  in  3-8  or 
3-4  time. 

Dreh'orgel  (Ger.)     A  barrel-organ. 

Drei  (Ger.)  Three. .  .Drei'cho}-ig,  {a) 
for  3  choirs  ;  {h)  trichord  (said  of  a 
pfte.). .  .Drei'gestrichen,  3-lined,  thrice- 
accented.  .  .Z^^vz'/'/;?;/^'',  a  triad... 
Drci'sliinmig,  three-part,  in  3  parts, 
for  3  voices. 

Drit'ta  (It.)     See  Dirt Ua. 

Driving-note.  Syncopated  note.  (Ob- 
solete.) 

Droit(e)  (Fr.)  Right.  .  .J/ai/i  droite, 
right  hand  (abbr.  m.  d.) 

Drone.  (Ger.  Stim'mer,  Bordim' ;  Fr. 
bourdon;  It.  bordo'nc.)  In  the  bag- 
pipe, one  of  the  continuously  sounding 
pipes  of  constant  pitch.  (Also  see 
Drone-bass}).  .  .Drone-bass,  a  bass  on 
the  tonic,  or  tonic  and  dominant,  which 
is  persistent  throughout  a  movement 
or  piece,  as  in  the  Jl/usette  2.  .  .Drone- 
pipe,  same  as  Drone. 

Driick'balg  (Ger.)     Concussion-bellows. 

Druck'er  ((Jer.)  A  specially  brilliant 
(sometimes  a  forced)  effect ;  einen 
Drucker  auf'setzen,  to  bring  out  such 
an  effect. 

Drii'cker  (Ger.)    See  Steelier. 

Druck'werk  (Ger.)  An  organ-action 
operating  by  the  pressure  of  stickers  on 
the  remoter  parts  of  the  mechanism. 
(See  Zug-.i'erk.) 

Drum.  An  instr.  of  percussion,  consist- 
ing of  a  hollow  body  of  wood  or  metal, 
over  one  or  both  ends  of  which  a  mem- 
brane (the  head)  is  stretched  tightly  by 
means  of  a  hoop,  to  which  is  attached  an 


endless  cord  tightened  by  leathern 
braces,  or  by  a  system  of  rods  and 
screws.  The  two  chief  classes  of  drums 
are  the  rJiythinical  (those  employed  to 
vary  and  emphasize  the  rhythm),  and 
the  musical  (those  capable  of  produc- 
ing a  mus.  tone  distinct  in  pitch).  The 
commonest  forms  of  the  first  class  in 
modern  use  are  :  (i)  The  side-drum 
(Ger.  Tronrmcl;  I'r.  tambour;  It.  iam- 
buro);  it  has  a  c)'lindrical  body  of 
wood  or  metal,  and  2  heads,  is  slung 
across  the  left  thigh,  and  only  the  up- 
per head  is  beaten  with  the  2  drumsticks; 
when  gut  strings  {snares)  are  stretched 
across  the  lower  head,  the  instr.  is 
called  a  snare-drum.  (2)  The  bass 
drum  (Ger.  grosse  Trommel;  Fr.  grossc 
caisse;  It.  gran  cassa,  gran  ta/nburo), 
similar  in  form  to  I,  but  much  larger, 
and  beaten  on  one  or  both  heads  with 
a  stick  having  a  soft  round  knob  at  the 
end.  (3)  See  Tambourine.  .  .The  so\e 
representative  of  the  second  class  is  the 
Kettledrum  (which  see). 

Duc'tus  (Lat.)  A  series  of  tones  in 
stepwise  progression  ;  as  d.  rec'tus, 
ascending  ;  d.  rever'tens,  descending  ; 
d.  circiimcur'rens,  first  ascending  and 
then  descending. 

Du'delsack  (Ger  )     Bagpipe. 

Du'e  (It.)  Two. .  .A  due,  signifies  (i) 
for  two  ;  as  a  due  voci,  for  2  parts  or 
voices  ;  (2)  both  together  (see  Divisi). 
..Due  corde,  "two  strings";  see 
Cor  da .  .  .  Due  volte,  twice .  . .  /  due  pe- 
dali,  both  (pfte.-)  pedals  at  once. 

D'jet'.  (Ger.  Duett';  Fr.  duo;  It.  duet'. 
to.)  I.  A  composition  for  2  voices  or 
instr.s. — 2.  A  composition  for  2  per- 
formers on  one  instr.,  as  the  pfte. — 3. 
A  composition  for  the  organ,  in  2 
parts,  each  to  be  played  on  a  separate 
manual. 

Duetti'no  (It.,  dimin.  of  duetto.)  A 
short  and  simple  duet. 

Dulcian'  (Ger.)     See  Dolcian. 

Dulcian'a.  i.  An  organ -stop  having 
metal  pipes  of  narrow  scale  and  yield- 
ing a  somewhat  sharp,  thin  tone. — 2.  A 
reed-stop  of  delicate  tone. — 3.  ^  small 
bassoon. 

Dul'cimer.  (Ger.  Hack'brett;  Fr.  tym- 
panon  ;  It.  cem'balo.)  A  very  ancient 
stringed  instr.,  greatly  varying  in  con- 
struction and  form  ;  typical  character- 
istic, the  wire  strings  stretched  over  a 
soundboard  or  resonance-box  and  struck 


DUMB   PIANO— DURUS. 


63 


i 


with  mallets  or  hammers.  In  the  modern 
forms  the  string-tension  is  regulated  by 
wrest-pins,  and  the  mallet-heads  have 
one  soft  and  one  hard  face,  which  pro- 
duce different  effects  .^  (^) 
of  tone.  Compass  2 
to  3  octaves,  g-  to  g'^: 
The  dulcimer  was  the  _ 
precursor,  and  is  often  called  the  proto- 
type, of  the  pianoforte.    See  Panlalon. 

Dumb  piano.  An  instr.  like  a  small 
piano  in  form,  having  a  keyboard  of 
narrow  compass,  but  neither  hammers 
nor  strings  ;  intended  for  silent  finger- 
practice,  i.  e.  merely  for  increasing  the 
mechanical  dexterity  of  the  fingers 
(Comp.  Digilorium,  SiXid  Virgil  J'rac- 
tice-Clavier). .  .Dumb  spinet,  see  Mani- 
ckord. 

Dummy  pipes.  Pipes  which  do  not 
speak,  displayed  in  the  front  of  an 
organ. 

Dump.  An  obsolete  dance  in  slow  tempo 
and  common  time. 

Du'o  (It.  and  Fr.)  A  duet.  (In  English 
usage,  duo  is  sometimes  distinguished 
from  duet  by  applying  the  former  term 
to  a  2-part  composition  for  2  voices  or 
instr.s  of  different  kinds,  and  the  latter 
to  such  a  composition  for  2  voices  or 
instr.s  of  the  same  kind.) 

Duode'cima  (It.)  i.  The  interval  of  a 
twelfth. — 2.  A  Twelfth  (organ-stop), 

Duodecimo'le  (Ger.)     Dodecuplet. 

Du'odene.  A  12-tone  group  composed  of 
4  trines,  applied  to  the  solution  and 
correction  of  problems  in  temperament 
and  harmony.  A  dnode'nal  is  the  sym- 
bol of  the  root-tone  of  a  duodene.  The 
term  (as  also  Trine,  Decad,  Ilcptad, 
Heptadecad,  etc.)  is  the  invention  of  A. 
J.  Ellis,  a  full  e.Kplanation  of  whose 
system  of  acoustics  will  be  found  in  his 
original  Appendices  to  the  Second  Ing- 
lish  Edition  of  Helmholtz's  work  "On 
the  Sensations  of  Tone,  (1885,  trans- 
lated by  Ellis  himself  I. 

Duodra'ma.  (It.  duodram'^na.)  A  kind  of 
melodrama,  or  spoken  dialogue  accom- 
panied by  the  orchestra. 

Duo'i  (It.)     Same  as  Due, 

Duo'le  (Ger.)     Couplet  2. 

Duo'lo  (It.)    Grief,  sadness,  melancholy. 

Du'pla  {proportid).     See  Xotation,  §3. 

Duple.  Double.../),  rhythm,  rhytlim 
of  2  beats  to  a  measure. 


Dur  (Ger.)     Major. 

Dur,-e  (Fr.)     Harsh,  unpleasing  in  tone. 

Duramen'te  (It.)     Sternly,  harshly. 

Durch'fiihrung  (Ger.)  In  a  general  sense, 
the  mus.  construction  or  working-out  of 
a  movement  ;  specifically,  the  develop- 
ment of  a  theme,  as  in  the  fugue  or 
sonata.     (See  Development,  Form.) 

Durch'gang  (Ger. ;  Lat.  tran' situs.)  The 
"  passage  "  or  progression  of  one  prin- 
cipal tone  to  another  through  a  tone  or 
tones  foreign  to  the  harmony  or  key. . . 
Durch'gangston,  passing-tone,  chang- 
ing-tone  ;  re'gelmiissiger  D.ton,  one 
falling  on  a  weak  beat  ;  un'regelmas- 
siger  Durchgangston,  one  falling  on  a 
strong  beat,  also  called  a  sch-.i-e'rer 
Durehgang,  "  heavy  passing  -  tone," 
though  properly  an  anticipation  or  free 
suspension. 

Durch'gehend  (Ger.)  i.  Passing,  as 
Durch'gehender  Akkord',  passing- 
chord. — 2.  Transitional,  as  durehge- 
hende  Aus'^oeiehungen,  the  transitional 
or  continuous  modulations  necessary  in 
passing  to  a  key  harmonically  remote. 
— 3.  Complete ;  as  durch'gehende 
Stim'men,  complete  (organ-)  stops. 

Durch'komponieren  (Ger.)  In  song- 
writing,  to  set  each  strophe  to  differ- 
ent music,  thus  following  the  changing 
mood  more  closely  than  in  the  ballad  or 
folk-song,  where  melody  and  harmony 
are  generally  the  same  for  each  verse. 
..Durchkomponiert,  "  through-com- 
posed," progressively  composed. 

Durch'schlagende  Zung'e  (Ger.)  Free 
reed. 

Durch'stechen  (Ger.)  Running  (of 
wind  in  an  organ).  Also  said  of  a  pipe 
which,  when  facing  another,  causes  th«j 
latter  to  speak  by  the  wind  issuing  from 
its  mouth. — Durch'stecJur,  tones  pro- 
duced by  the  above  defects. 

Duree  (Fr.)  Duration,  time-value  (of  a 
note). 

Durez'za  (It.)     Sternness,  harshness. 

Dur  Moll'-Tonart  (Ger.,  "major-minor 
mode".)  The  "combined"  mode  de- 
rived theoretically  from  the  resolution 
of  the  dominant  chord  in  minor  to  the 
tonic  in  major  (mode  with  major  third 
and  minor  si.xth);  expressed  by  the 
Flauptmann  formula 

D/F-at7-C-e-G-b-D/F. 

Du'ro,-a  (It.)     Stern,  harsh. 
1  Du'rus,-a,-um  (Lat.,   "l>ard".)     Equi- 


54 


DttSTER— EIN. 


valent  to  major  in  the  phrases  canttis 
durus,  hexachor'dum  durum;  i.  e.  a 
chant  (vocal  music)  and  hexachord  with 
major  third  ;  opp.  to  yl/c/AV . — B  durum, 
B  natural. 

Dii'ster  (Ger.)     Gloomy,  mournful. 

Dutch  concert.     See  Concert. 

Dux  (I.at.,  "leader,  guide".)  Subject 
or  theme  of  a  fugue. 

Dynam'ics.  The  theory  of  mus.  dyna- 
mics is  tlie  scientific  explanation  of  the 
varying  and  contrasting  degrees  of  in- 
tensity or  loudness  in  mus.  tones. 

E. 

E.  (Ger.  E;  Fr.  and  It.  mi.)  The  3d 
tone  or  degree  in  the  typical  diatonic 
scale  of  C-major.  (Compare  Alphabet- 
ical Notation.,  and  Solmisation.) 

E     (It.)    And  ;  (before  a  vowel,  ed). 

Bar.  I.  (Ger.  Ohr,  Geho?-';  Fr.  oreille; 
It.  orec'chio.)  A  mus.  ear  is  one  im- 
pressionable to  mus.  tones,  thus  afford- 
ing to  its  possessor,  after  more  or  less 
practice,  the  capability  of  accurately 
reproducing  them,  and  of  appreciating 
and  correctly  analyzing  compositions 
performed  by  others. — 2.  One  of  the 
2  projecting  plates  of  metal  on  either 
side  of  the  mouth  of  an  organ-pipe. 

Ebollimen'to,  Ebollizio'ne  (It.)  Ebul- 
lition ;  a  sudden  and  passionate  ex- 
pression of  feeling. 

Ecart  (Fr.)     A  wide  stretch  on  the  pfte. 

Ec'bole  (Gk.)  The  raising  or  sharping 
of  a  tone  ;  opp.  to  Ec' lysis. 

Ecceden'te  (It.)  Augmented  (of  inter- 
vals). 

Ecclesiastical  modes.     See  Modes. 

Ec'co  (It.)     Echo. 

Echappement  (Fr.)  The  hopper  or  es- 
capement in  a  double-action  pfte. 

Echelette  (Fr.)     Xylophone. 

Echelle  (Fr.)     Scale. 

Echo.  I.  A  subdued  repetition  of  a 
strain  or  phrase. — 2.  An  echo-stop. — 
3.  A  ha-vpsichord-s^-op.  .  .Ecko-organ, 
a  separate  set  of  pipes,  either  enclosed 
in  a  box  within  the  organ,  or  placed  at  a 
distance  from  the  latter,  to  produce  the 
effect  of  an  echo  ;  it  has  separate  stops, 
and  often  a  special  mannzX.  .  .Echo- 
stop,  one  producing  an  echo-like  effect, 
either  by  itself  or  in  an  echo-organ. 


Eclisses    (Fr.)     Ribs   (of   a   violin). . 

Contre-ifclisses,  linings. 
Eclogue.     See  Eglogue. 

Ec'lysis  (Gk.)  The  flatting  or  depression 
of  a  tone  ;  opp.  to  Ec'bole. 

E'co  (It.)     Echo. 

Ecossaise  (Fr.)  Originally,  a  Scotch 
round  dance  in  3-2  or  3-4  time  ;  now,  a 
lively  contredanse  in  2-4  time.  (Com- 
pare Schottische.) 

Ecu  (Fr.)  Shield  (on  face  of  lute,  man- 
dolin,  etc.) 

Ed  (It.)     And. 

E'del  (Ger.)     Noble  ;  refined,  chaste. 

Effekt'  (Ger.)  lL?i&ct.  .  .Effekt'piano, 
the  effect  of  the  forte-piano  {fp). 

Effet  (Fr.),  Effet'to  (It.)  Effect,  im- 
pression. 

Effort  (Fr.)  In  singing,  a  rough  and 
guttural  attack. 

Egalit6  (Fr.)     Evenness,  smoothness. 

Eglogue  (Fr.)  A  pastoral,  or  idyl, 
though  in  somewhat  more  animated 
style  than  the  latter. 

Egua'le  (It.)  Equal;  even,  smooth... 
Egtialmeti'te,  evenly,  smoothly. 

Eidomu'sikon.     See  Melograph. 

Ei'gentlich  (Ger.)  Proper,  actual,  trua, 
real .  . .  Ei'gentliche  Euge,  a  strict  fugue. 
.  .Ei'gentliche  JCadenz',  perfect  ca- 
dence. .  .Ei'gentlicher  Drei' klang,  com- 
mon chord. 

Ei'genton  (Ger.)  Natural  tone  (of  a 
windinstr.)  ;  tone  proper  to,  or  pro- 
duced by,  a  sonorous  body  or  hollow 
space. 

Eighteenth.  An  interval  of  2  octaves 
and  a  fourth. 

Eighth.  I.  An  octave. — 2.  An  eighth- 
note.  .  .Eighth-note,  a  note  representing 
one-eighth  of  the  time-value  of  a  whole 
note  ;  a  quaver  (>  J  )•  ■  .Eighth-rest,  a 
rest  equal  in  time-value  to  an  eighth- 
note. 

Ei'Ien  (Ger.)  To  hasten,  accelerate,  go 
faster. .  .Ei'lend,  hastening  ;  acceleran- 
do, stringendo.  .  .Ei'lig,  hasty,  in  a  hur- 
ried style;  rapid,  swift. 

Ein,  Eins  (Ger.)  One.  .  .Ein'chorig,  (a) 
having  one  string  to  each  note  ;  (^)  for 
single  (or  undivided)  chorus  (choir). . . 
Ein'fach,  simple, plain.  .  .Ein' gang,  in- 
troduction. .  .Ein'gestrichen,  one-lined. 
.  .Ein'greifen,  (a)  to  touch  or  sound 
(strings) ;  {b)  in  pfte. -playing,  to  inter- 


EIS— EMPATER. 


6S 


lace  the  fingers. .  .Ein'klaiig,  unison. . . 
Ein'lage,  a  short  piece  introduced  (<•/;/'- 
gelegt)  between  2  compositions  or  in  the 
midst  of  a  long  one. .  .Ein' lei  lung,  in- 
troduction .  .  .  Ein'mal,  once .  . .  Ein'- 
saiter,  monochord. .  .Ein'satz,  entrance 
(of  a  vocal  or  instrumental  part) ;  attack. 
Ein'satzstiiik,  a  crook  (usually  Bogcu). 
Ein'satzzeichen,  in  a  canon,  the  presa. 
. .  Ein'schnitt,  a  pause  at  the  end  of  a 
melodic  phrase  or  section . . .  Kin'scizcn, 
to  enter  (as  a  part) ;  to  attack  ;  to  strike 
or  fall  in ;  ein'setzender  Hornisl',  a 
horn-player  who  sets  the  mouthpiece 
rather  within  than  against  his  lips  ;  a 
lipping  sometimes  necessitated  by  thick 
lips.  .  .  Ein'singen,  (a)  to  sing  to  sleep  ; 
(^)  to  practise  singing  until  confidence 
is  attained.  .  .Ein'spielen,  (a)  to  play  on 
a  new  instr.  till  it  works  smoothly  ;  (/')  to 
practise  a  part  or  piece  until  confidence 
'\%2X\.z\\\&dL.  .  .Ein'stimmcu,  to  tune  (in 
concert  with  other  instr.s). .  .Ein'stim- 
mig,  for  one  part  or  voice. .  .Ein'tritt, 
entrance  ;  beginning. 

E'is  (Ger.)     EJ|. .  .E'isis,  E  x  . 
Ei'senvioline  (Ger.)     See  N'agelgeige. 
Eklo'g(u)e.     Ger.  spelling  of  Eglogue. 

Ela.     Name   of    the   highest   ^Z^     ^ 
note  in  the  Aretinian  scale  :  ^ 

Electric  Organ.    See  Organ.  .  .Electric 

Pianoforte  (Ger.  elektropho'nisches  Kla- 

vier')^  inv.  in  1891  by  Dr.   Eisenmann 

of  Berlin.     Over  each  unison  of  strings 

an  electro-magnet  is  fixed  ;  on  closing 

the  circuit  (by  depressing  a  digital)  each 

magnet   attracts    its   strings,    and    (the 

magnetic   action  being  duly  controlled 

and  limited  by  a  set   of  microphones) 

causes    their    continuous    vibration. — 

Tone  (of  the  improved  instr.)  full,  sweet, 

capable   of   the  most  various  dynamic 

Elevation. 

+ 

written : 


played  : 


Elevation  (Fr.)  i.  Up-beat  or  weak 
beat  (also  /c'z//) ;  opp.  to  /"/c?///.— 2. 
Same  as  Elevatio  2  and  3. 

Eleva'to  (It.)  Elevated,  lofty,  sublime. 
.  .Elevazio'ne,  see  Elevation. 

Embellir    (Fr.)      To    embellish,    orna- 
ment. 
Embellishment.     See  Grace. 


shading  ;  timbre  like  that  of  the  string- 
orchestra  ;  the  ordinary  hammer-action 
may  be  employed  alone,  or  in  combina- 
tion with  the  above.  A  peculiar  (sus- 
taining) pedal-mechanism  permits  a 
given  tone,  a  full  chord,  or  any  har- 
mony, to  sound  on  as  long  as  desired, 
even  after  lifting  the  fingers.  Numer- 
ous combined  effects  of  tone  are  pos- 
sible. 
El^gamment  (Fr.)     Elegantly. 

Elegan'te   (It.)      Elegant,    graceful... 
Elegantemen'te,  elegantly,  etc. 

Elegie'zither  (Ger.)  See  Zither, 
El'egy.  (Fr.  ^Ugie ;  It.  elegi'a?^^  A 
composition  of  a  mournful  cast,  either 
vocal  or  instrumental  ;  a  dirge.  .  .Ele'- 
giac,  a  pentameter,  i.  e.  a  verse  com- 
posed of  2  dactylic  penthemims  or 
written  in  elegiac  metre. .  .  Elegiac  verse, 
that  in  which  elegiac  poems  or  verses 
are  written,  consisting  of  elegiac  dis- 
tiches ;  an  elegiac  distich  being  one  in 
which  the  first  line  is  a  dactylic  hexa- 
meter, and  the  second  a  pentameter, 
thus : 


--|_^~|. 


Element  (Fr.)  The  entire  range  of 
tones  embraced  in  the  mus.  scale... 
Element  ?nelriqiie,  a  measure-note. 

Eleva'tio  (Lat.)  i.  Up-beat  ;  unac- 
cented count. — 2.  The  rising  of  a  mel- 
ody over  the  ambitus  of  the  mode. — 3. 
A  mus.  composition  accompanying  the 
elevation  of  the  Host. 

Elevation.  See  Elevatio. .  .Also,  the 
name  of  2  obsolete  graces,  the  elevation 

and  shaked  elevation  : 

Shaked  Elevation. 


Embouchure  (Fr.)  i.  The  mouthpiece 
of  a  wind-instr.,  or  the  oval  orifice  of 
a  flute. — 2.  See  Lip. 

Empater  les  sons  (Fr.)  To  produce  a 
very  smooth  and  suave  legato.  .  .Ex/- 
cution  {r'oix)  e/npdte'c,  an  instrumental 
(vocal)  style  lacking  in  neatness  and 
distinctness. 


66 


EMPFINDUNG— ENTREE. 


Empfin'dung(rier.)  Feeling,  emotion.. . 
Empfiu' dungsvoll,  full  of  feeling  ;  feel- 
ingly, with  emotion. 

Empha'se  (Ger.  and  Fr.)  Emphasis, 
stress. 

Emport6,-e  (Fr.)  Carried  away  by  feel- 
ing or  passion. 

Empress6,-e  (Fr.)  Urgent,  eager  ;  in 
haste. 

Enarmo'nico  (It.)     Enharmonic. 

En  badinant  (Fr.)     See  Scherzando. 

Enclavure  du  manche  (Fr.)  Space  cut 
in  belly  (of  violin)  for  insertion  of  neck. 

Encore  (Fr.)  "Again!"  (in  English 
usage;  the  French  use  the  word  "bis" 
when  recalling  an  actor  or  performer). 
— Also  used  for  rt'ca/l  {noun  and  verb), 
and  for  the  piece  or  performance  re- 
peated. 

End-man.  In  the  "negro  minstrels", 
a  man  who  sits  at  the  end  of  the  semi- 
circle formed  by  the  company  on  com- 
mencing the  performance.  There  are 
2  or  4  such  end-men,  who  provide  a 
good  part  of  the  fun  apart  from  the 
songs,  and  likewise  perform  on  the 
"bones  "  and  the  tambourine. 

Energi'a  (It.),  Energie(Fr.)  Energy'.  . . 
Energicaiiwn'te  (It.),  or  con  enei-gia, 
with  energ)'  and  decision,  energetically. 

Ener'gico  (It.),  Ener'gisch  (Ger.)  En- 
ergetic, vigorous ;  indicates  that  the 
passage  so  marked  is  to  be  vigorously 
accented  and  distinctly  phrased. 

Enfant  de  chceur  (Fr.)     A  choir-boy. 

Enfa'si,  con  (It.)  With  emphasis,  em- 
phatically. .  .Enfa'/ico,  emphatic. 

Eng  (Ger.)  Narrow.  c\ost.. .  .Eng'e 
Harmonie'  {Lage),  close  harmony. 

Eng'elstimme  (Ger.)      Vox  angelica. 

EngTiihrung  (Ger.)  The  stretto  in  a 
fugue. 

Eng'lisch  (Ger.)  English. .  ..£'«^//j-f/^ 
Horn,  cor  ^^vi-gX-sA?,. .  .Eng'lische  Me- 
cha'nik,  English  action  (pfte.).  .  .Eng'- 
lischer  Tanz,  anglaise  ,  .  Euglisch  Vio- 
lef ,  (<?)  an  obsolete  bow-instr.  re- 
sembling the  viola  d'ainore,  with  14 
sympathetic  strings  stretched  below 
the  fingerboard  ;  (/')  a  former  tuning 
of  the  violin  {e-a-e^-a^). 

Enharmon'ic.  (Ger.  enharmo'nisch ; 
Fr.  cnharmonique ;  It.  enarino'nico.) 
In  Cireek  music,  the  enh.  genus  was 
distinguished  by  a  tetrachord,  the  first 
2  steps  in  which  were  (approximately) 


quarter-tones,  and  the  third  step  a 
major  third. — In  modern  music,  enhar- 
monic tones  are  tones  derived  from  dif- 
ferent degrees,  but  practically  identical 
in  pitch,  as  c^  and  d\)  on  the  pfte.  or 
organ.  .  .Enltarmonic  change,  a  change 
effected  in  the  harmonic  relations  of  a 
tone  or  chord  by  treating  it  as  identical 
in  pitch  with  another  1 
tone  or  chord  of  dif- 
ferent notation  ;  thus: 
where  the  enharm.  change  of  /-i?  to  a^ 
brings  about  a  different  resolution  of 
the  diminished  seventh-chord  by  chang- 
ing its  tonality: 
(i)  (/-minor.  (2)  (5-minor. 


.  .Enharmonic  chords,  chords  (like  I 
and  2  above)  alike  in  pitch  but  unlike 
in  notation  and  derivation .  .  .  Enharm. 
di'esis,  see  Diesis .  .  .E?ihari/t.  interval, 
one  derived  from  an  enharm.  change. . . 
Enharm.  nioditlalion,  an  enharm. 
change  of  chords,  as  above.  .  .Enharm. 
organ,  pianoforte,  scale,  one  in  which 
the  identity  of  the  enharmonic  tones  is 
denied,  and  an  attempt  made  to  realize 
practically  the  minute  differences  in 
pitch  between  such  tones,  e.  g.  by  add- 
ing an  extra  digital  for  d'^  as  distinct 
from  (■;; ;  etc. 

Ensemble  (Fr.)  Concert,  in  the  sense 
of  "  agreement  of  2  or  more  in  a  de- 
sign or  plan". — i.  The  unity  of  a 
composition  ;  the  harmonious  agree- 
ment of  parts  which  forms  a  well-bal- 
anced whole. — 2.  The  harmonious  co- 
operation of  the  various  factors  in  a 
performance ;  of  the  actors,  singers, 
musicians,  or  instruments,  taken  in 
groups  or  together.  .  .Morceaux  d' en- 
semble, concerted  music. 

En  serrant  (I"r.)     Stringendo. 

Entr'acte(Fr.,  "  interval  between  acts".) 
A  light  instrumental  composition  or 
short  ballet,  intended  or  adapted  for 
performance  between  acts. 

Entra'ta  (It.)   See  Entree,  and  Inii-ada. 

Entree  (1  r.)  i.  See  Intrada;  also, 
specifically,  the  orchestral  prelude  to  a 
ballet,  following  the  overture. — 2.  En- 
trance (of  a  part  or  actor). — 3.  A  division 
of  a  ballet  corresponding  to  a  "  scene  " 
in  a  dramatic  performance  ;  also,  the 
dance  music  accompanying  it. — 4.  An 
old  dance  resembling  the  Polonaise  in 
character,  usually  in  4-4  time  ;    often 


ENTRY— ESPRESSIONE. 


6/ 


occurs  as  first  movement  in  the  Sere- 
nata. 

Entry.  An  act  of  an  opera,  burletta,  etc. 
(Obsolete.) 

Entschlos'sen  (Ger.)  Resolute(lyj,  de- 
termined, in  a  determined  manner. 

Entwurf  (Ger.)     Sketch,  plan,   design. 

Eo'lian,     See  ^olian. 

Ep'icede.  (Lat.  epicc'dium ;  Fr.  epi- 
cede ;  It.  epice'Jio.)  A  funeral  song, 
dirge. 

Epigo'nion  (Gk.)  The  ancient  Greek 
lyre  with  40  strings,  named  after  its  re- 
puted inventor  Epigonos. 

Epinette  (Fr.)     Spinet. 

Epini'cion  (Gk.)  i.  A  triumphal  song 
in  celebration  of  a  victory. — 2.  In  the 
(ireek  Church,  the  triumphal  hymn,  the 
Sanctus. 

Epio'dion  (Gk.)     A  funeral  song. 

Episode.  (Ger.  Z-visch'ensatz;  Fr.  epi- 
sode; \t.  diver  time- n' to.)  An  intermedi- 
ate or  incidental  section  ;  a  digression 
from  and  interpolation  between  the 
repetitions  or  developments  of  the  prin- 
cipal theme  or  themes  of  a  composition  ; 
specifically,  in  the  fugue,  a  passage  of 
the  above  character  ordinarily  formed  of 
motives  taken  from  the  subject  or  coun- 
tersubject. 

Epistle  side  (of  the  altar).  That  on  the 
priest's  left,  when  he  is  facing  the  con- 
gregation ;  the  south  side  ;  opp.  to  the 
gospel  or  north  side. 

Epis'trophe  (Gk.)  In  a  cyclic  composi- 
tion, a  refrain. 

Epit'asis  (Gk.)  The  raising  of  the  voice, 
or  the  strings  of  an  instr.,  from  a  lower 
to  a  higher  pitch.     (See  Aiii-sis.) 

Epithala'mium  (Lat.),  Epithala'mion 
(Gk.)     A  nuptial  song  or  poem. 

Epito'nion  (Gk.)  A  tuning-wrench  ;  a 
pitch-pipe. 

Ep'itrite.     Same  as  Hippius. 

Ep'ode  (Gk.,  "after-song".)  i.  A  re- 
frain.— 2.  The  concluding  stanza  of  an 
ode,  following  the  strophe  and  anti- 
strophe. 

Eptacorde  (Fr.),  Eptacor'do  (It.)  i. 
Heptachord. — 2.  .\  scale  of  7  notes. — 
3.   The  interval  of  a  seventh. 

Equa'bile(It.)  Equable,  even,  uniform, 
similar.  .  .Equabilinoi' tc,  equably,  etc. 

Equal  counterpoint,  temperament. 
See  the  nouns  .Equal  voices,  voices 
of  the  same  class,  i.  e.  either  women's 


for  boys')  voices  (contralto  and  soprano), 
or  men's  voices  (tenor,  bass)  ;  opp.  to 
"unequal  voices,"  a  term  equivalent  to 

mixed  chorus. 

E'quisonance,  In  medieval  music,  the 
unison  (of  primes  or  octaves). 

Equisonnance  (Fr.)  The  unison  (of 
octaves,  double  octaves,  etc.) 

Equi'sono  (It.)     In  unison    or  octaves. 

Equiv'ocal  or  doubtful  chord.  .See 
Chord. 

Ergriffen  (Ger.)  Affected,  stirred,  mov- 
ed..  ..£V;^;vy"'y'tM/id7V,  emotion,  agita- 
tion. 

Erha'ben  (Ger.)  Lofty,  e.xalted,  sub- 
lime. .  .Erha'i/enheit,  sublimity,  etc. 

Erhoh'ung(Ger.)  Raising  (the  pitch  of); 
sharping.  .  .  Erhoh'uiigszeichen,  sign  of 
raising,  as  the  j,  or  a  [J  after  a  {7. 

Ermat'tet  (Ger.)      Exhausted,  wearied. 

Ernie'drigung  (Ger.)  Lowering  (the 
pitch  of);  ?iz.\.'i\x\<g.  .  .Ernie' d rigu}7^^s- 
zeichtti,  sign  of  lowering,  as  the  \),  or 
the  t]  after  a  Jf. 

Ernst  (Cler.)  P'.arnest,  serious,  grave. 
(Also  adverb.) 

Ero'ico,-a  (It.)  Heroic  ;  strong  and 
dignified. 

Erot'ic.  (It.  ero'lico.)  r.  Amatory. — 2. 
An  amatory  poem,  a  love-song. 

Er'ster,-e,-es  (Ger.)  Y\r?,t.  .  .Ei'ste 
Stim'iiie,  the  highest  part  or  voice. 

Erwei'tern  (Ger.)  To  extend,  expand. 
Erioei' terte  Ilarmonie' ,  seeLage,  weite. 
.  .  Er-ivei'terier  Satz,  a  movement  in 
which  there  is  a  full  exposition  of  the 
subject  by  development,  repetition,  etc. 
.  .Erwei' lerii)}g  (of  a  fugal  theme),  the 
widening  of  any  of  its  intervals. 

Erzah'ler  (Ger.)  The  Evangelist  or 
A'arralor  in  a  Passion-play. 

Erz'laute  (Ger.)     Archlute. 

Es  (Ger.)     ¥})... Es'es,  E^b- 

Esacor'do  (It.)  i.  Ilexachord. — 2.  The 
interval  of  a  sixth. 

Esat'to  (It.)     Exact,  true. 

Esecuzio'ne  (It.)     Execution. 

Eserci'zio  (It.)     Exercise  ;  practice. 

E space  (Fr.)     Space  (in  staff). 

Espiran'do  (It.)     Expiring,  d^ingaway. 

Espressio'ne,  con  (It.)  With  expres- 
sion, expressively. .  ..£"j;^;t'j'j'/'z'c7,  ex- 
pressive. 


68 


ESSENTIAL  HARMONY— EXTEMPORIZE. 


Essential  harmony.  See  Harmony..  . 
Ess.  note's,  chord-notes. ..  jS'j'J'.  yth,  {a) 
the  leading-note  ;  {b)  the  dominant 
chord  of  the  7th. 

Estensio'ne  (It.)  Compass. .  .Esteso,-a 
(pi.  estesi,-c),  e.xtended. 

Kstinguen'do  (It.)  E.xtinguishing,  dy- 
ing away. 

Estin'to  (It.)  Barely  audible  ;  the  ex- 
treme o{  pianissimo. 

Estravagan'za  (It.)     Extravaganza. 

Btalon  (Fr.)     Scale  3. 

Etendue  (Fr.)     Compass. 

Etoff6(e)  (Fr.)  Having  "  body". . .  Voix 
/lofft'e,  a  full,  sonorous  voice. 

Etouff6,-e  (Fr.)  Stifled,  damped,  muf- 
fled. .  .£/ouffoir,  damper  (pfte.) 

Ettacor'do  (It.)     See  Eptacordo. 

Etude  (Fr.)  A  study ;  especially,  one 
affording  practice  in  some  particular 
technical  difficulty.  .  .Etude  de  concert, 
an  etude  designed  for  public  perform- 
ance ;  a  species  of  characteristic  piece. 

Et'was  (Ger.)     Rather,  somewhat. 

Euharmon'ic.  Producing  harmonies 
perfectly  pure  ;  opp.  to  tempered. .  . 
Euharmonic  organ,  one  having  a  suf- 
ficient number  of  keys  to  produce  all 
the  fundamental  and  the  chief  deriva- 
tive tones. 

EUOUAE.     SeeEVOVAE. 

Eupho'ne.  i.  (Also  Euphon.)  See 
Euphonium. — 2.  In  the  organ,  a  16- 
foot  free-reed  stop,  with  a  soft  sweet 
tone  like  that  of  the  clarinet. 

Eupho'nia  (It.)     Euphony. 

Eupho'niad.     A  kind  of  orchestrion. 

Eupho'nium.  i.  An  instr.  inv.  by 
Chladni  in  1790,  consisting  of  gradu- 
ated glass  tubes  set  in  vibration  with 
the  moistened  fingers,  and  connected 
with  steel  rods.  (Also  Eupho7i.) — 2. 
The  bass  Saxhorn. 

Euter'pe.  One  of  the  nine  Muses,  the 
inventress  of  the  double  flute,  and  pa- 
troness of  flute-players  and  of  primitive 
and  simple  melody. 

Evacua'tio  (Lat.)  In  mensurable  nota- 
tion, writing  only  the  outlines  of  solid 
notes,  thus  reducing  their  value  by  one- 
half. 

Evakuant'  (Ger.)  The  exhaust-valve 
or  exhaust-pallet  in  the  organ  ;  (Engl. 
also  evacuant). 


Evening-song,   Even-song.      In    the 

Anglican  Church,  a  form  of  worship 
appointed  to  be  said  or  sung  at  eve- 
ning ;  known  as  Vespers  in  the  R.  C. 
Church. 

Ever'sio,  Evolu'tio  (Lat.)  The  inver- 
sion of  the  parts  in  double  counter- 
point. 

Evira'to  (It.)     See  Castrate. 

Evolution  (Fr.)     See  Renversement. 

EVOVAE.  The  vowels  of  ^ecuXoxum. 
ava.e\-\,  the  last  two  words  in  the  Gloria 
Patri. — In  Gregorian  music,  the  trope 
closing  the  Lesser  Doxology;  in  a  wider 
sense,  any  trope. 

Exercise.  (Ger.  U'bung,  O'bungsstUck; 
Fr.  exercice;  It.  eserci'zio.)  A  short 
technical  study,  often  consisting  of  but 
one  repeated  measure,  for  training  the 
fingers  (or  vocal  organs)  to  overcome 
some  special  difficulty  ;  also,  a  short 
study  in  composition,  consisting  of  an 
outline  (e.  g.  a  figured  bass,  or  a  cantus 
firmus')  to  be  filled  out  harmonically  or 
contrapuntally  by  the  student. 

Exhaust-pallet  or  -valve.  A  valve 
opened  by  a  draw-stop,  to  let  off  the 
wind  in  the  bellows  after  playing  ;  an 
evacuant. 

Exposition,  i.  (Ger.  ei-'ste  Diirch'ftih- 
rung.)  See  Fugue. — 2.  (Ger.,[-//f«'].) 
Development. 

Expression  (Fr.)  i.  Expression. — 2. 
The  vibrato  effect  on  bow-instr.s. 

Expression.  (Ger.  Aus'druck;  Fr.  ex- 
pression;  It.  espressio'ne.")  The  clear 
and  effective  presentation  of  the  emo' 
tional  and  intellectual  content  of  a 
work  ;  its  proper  reading  and  interpre- 
tation, rendering  and  txtculion ...  Ex- 
pression-mark, a  written  direction 
(either  a  sign,  word,  or  phrase)  for  the 
performance  of  a  Y>'\^ct.  .  .Expression- 
stop,  ill  the  harmonium,  a  stop  which 
closes  the  escape-valve  of  the  bellows, 
so  that  the  wind-pressure,  and  conse- 
quently the  intensity  of  the  tone,  is 
partly  under  the  control  of  the  pedals. 

Expressive  organ.  (Ger.  Expressiv'- 
orgel;  Fr.  orgue  expressif.)  The  har- 
monium. 

Extem'pore.  Without  previous  prepar- 
ation ;  on  the  spur  of  the  moment ;  ofl- 
hand. 

Extem'porize.  (Ger.  extemporie'ren!) 
To  improvise .  . .  Ex  temporizing-ma- 
chine, an  apparatus   for   mechanicallj 


EXTENDED  COMPASS— FAGOTTO. 


69 


recording  improvisations  on  the  pfte. 
or  organ  by  means  of  a  meclianism 
placed  in  communication  with  the  key- 
board.    See  i^Iclograph. 

Extended  compass,  harmony,  inter- 
val.    See  the  nouns. 

Extension  (Fr.)  i.  On  the  pfte.,  a 
stretch  ;  on  the  violin,  the  extension  of 
the  little  finger  or  forefinger  of  the  left 
hand. — 2.  Same  as  Etoidue. 

Extension-pedal.     See  Pedal. 

I.  2. 


Extraneous  chromatic  signs.     Those 

not    proper   to    the    key.  .  .Extraneous 
modulation,  one  to  a  remote  key. 

Extravagan'za.  A  composition  of  an 
extravagant,  whimsical,  or  fantastic 
character ;  a  burlesque. 

Extreme,  i.  Of  intervals,  augmented. 
The  chord  of  the  extret?ie  sixth  has  a 
major  third  and  sharp  sixth,  and  oc- 
curs on  the  6th  degree  in  minor  in  3 
principal  forms : 
3. 


or  with  progression  to  major  (-£]?). — 
The  first  form  is  called  the  Italian 
sixth;  the  second,  the  French  sixth; 
and  the  third,  the  German  sixth. — 2 
(pi.)  In  part-music,  the  outer  parts. — 
3.  Extreme  key,  a  remote  key. 

F. 

F.  (Ger.  F;  Fr.  and  It.  /<?.)  The  fourth 
tone  and  degree  in  the  typical  diatonic 
scale  of  C-major.  (Comp.  Alphabeti- 
cal flotation,  Solmisation.) — /^=  forte; 
ff  or  fff  {seldom  ffff),  fortissimo. 

Fa.  I.  The  fourth  of  the  Aretinian 
syllables. — 2.  Name  of  the  tone  E  in 
Italy,  France,  etc.  ,  .Ea  feint  (Fr.),  fa 
fic'tum  (Lat.),  former  term  for  any 
flatted  note.../vz  mi,  in  solmisation, 
the  descending  step  of  a  semitone; 
originally  that  from  E  to  E,  thereafter 
from  B'q  to  a,  Ep  to  E,  etc. 

Fabliau  (Fr.)  A  versified  tale  or  ro- 
mance of  the  trouvh-es,  in  vogue  chief- 
ly during  the  1 2th  and  13th  centuries. 
.  .Eablier  (Proven9al),  a  Trouvere. 

Fa'burden.  (Fr.  fa^tx  bourdon;  It. 
fal'so  bordo'ne.)  I.  In  medieval  music, 
the  primitive  harmonization  of  a  c.  f. 
by  adding  the  third  and  the  sixth  above, 
and  progressing  in  parallel  motion 
throughout,  only  the  first  and  last 
chords  having  key-note,  fifth,  and  oc- 
tave.— 2.  Later,  the  setting  of  a  simple 
(note  against  note)  counterpoint  to  the 
c.  f.,  strict  parallel  motion  being  given 
up  to  some  extent  ;  dissonances  were 
avoided,  various  embellishments  added, 
and  the  whole  counterpoint  frequently 


improvised. — 3.  A  drone-bass,  a  bur- 
den. — 4.   The  intonation  of  the  Psalms, 

Face  (Fr.)  Thepositionof  a  chord,  either 
as  a  fundamental  chord  or  inversion  ; 
e.  g.  a  triad  has  3  faces. 

-fach  (Ger. , "-fold  ".)  When  compounded 
with  a  numeral,  equivalent  to  ranks,  i.e. 
in  a  mixture-stop  ;  Z7i'ei'fach^=v!\\.h.  2 
ranks,  drei'fach^w'xih.  3  ranks,  etc. 

Fach'erformiges  Pedal'  (Ger.)  A 
"fan-shaped"  or  radiating  pedal-key- 
board. 

Faci'le  (Fr.),  Fa'cile  (It.)  Facile,  easy, 
'fin&nt.  .  .Eaci lenient  (It.  facilmen'te), 
easily,  fluently.  . . Eacilit/ (\t.  facilita'), 
ease,  easiness,  facility,  fluency  ;_/b«V/- 
te{e)  also  signifies  tnade  easy,  as  an  easy 
arrangement  of  a  difficult  piece  or 
passage. 

Fack'eltanz  (Ger.,"  torch-dance".)  A 
torch-light  procession  arranged  at  some 
German  courts  at  the  marriage  of  a 
member  of  the  reigning  family  ;  the 
music  is  a  polonaise  in  march-time,  for 
military  band,  and  in  minuet-form. 

Facture  (Fr.  ;  Ger.  Eaklitr' ;  It.  fattu'- 
ra.)  I.  The  plan,  build,  structure, 
construction  of  a  composition. — 2.  (Fr. 
and  It.)     Scale  (of  organ-pipes). 

-fa'dig  (Ger.)  Equivalent  to  threads  (of 
violin-strings),  as  ^fddig,  having  4 
threads. 

Fad'ing.  An  Irish  dance ;  also,  the 
burden  of  a  song. 

Fagott'  (Ger.)  '^2iS,%oovi . .  .  Eagott' zug 
(or  simply  Eagott),  a  reed-stop  in  the 
organ. 

Fagot'to  (It.)     Bassoon.  .  .Eagotti'no,  a 


70 


FAH— FAUSSE. 


"  small  bassoon  "  pitched  a  fifth  higher 
than  the  ordinary  one  (Ger.  Quuii'- 
fagotl,  J'eiior'j'agolt).  ..  Fagotti' sta,  a 
bassoonist,  bassoon-player. . .  Fagotto' ne^ 
double-bassoon. 

Fah.     Yox  fa,  in  Tonic  Sol-fa. 

Faible  (Fr.)  Weak . . .  Tk-w/j-  faihlc, 
weak  beat. 

Faktur'  (Ger.)     See  Facture. 

Fa-la.  See  Ballet  3....VIS0,  in  Italy,  a 
kind  of  arietta  ending  with  a  burden  of 
fa-la. 

Fall.  I.  Same  as  Fly. — 2.  A  cadence 
or  close. — -3.     A  lowering  of  the  voice. 

Fall  (Ger.)     See  Ton' fall. 

Falling  rhythm.    A  descending  rhythm. 

Fal'sa  (Lat.  and  It.;  Ger.  falsch.)  False, 
\MTong.  .  .Mu'sica  falsa,  see  Ficta... 
Quill' la  falsa  (Ger.  fal'sche  Quin'te), 
diminished  fifth. 

False.  (Ger.  filsch  ;  Fr.  faux,  fausse  ; 
It.  falso,-a.)  Wrong ;  not  true  to 
pitch,  out  of  iuxiQ. .  .False  cadence, 
chord,  fifth,  harmony,  see  the  nouns.. . 
False  relation,  also  inharmonic  rel., 
cross-rel..  an  harmonic  discrepancy 
arising  from  the  chromatic  contradiction 
of  a  tone  in  one  part  by  another  part. 
In  equal  counterpoint  it  is  apt  to  occur 
at  a  modulation,  and  consists  in  sound- 
ing, either  simultaneously  or  success- 
ively, a  tone  and  its  chromatically  al- 
tered octave.  The  former  case  'is 
generally  confined  to  passing-notes  in 
figuration,  and  then  has  no  ill  effect  ; 
the  latter  case  occurs  when  a'chromatic- 
ally  changed  tone,  which  might  have 
been  reached  in  one  part  by  the  step  of 
a  chromatic  semitone,  enters  in  another 
octave  in  another  part  ;  the  effect  is 
harshest  in  passing  from  a  major  chord 

toaparal-  J.  , , 

lei   minor  I -^-      -^^*^ '^    I  a? 
chord,    orl^ — j^ 
vice  versa:  *J       I 

Falset'to  (It.  ;  Ger.  Falsett' ;  Fr.'  voix 
defausset,  fausset.)  The  highest  of  the  3 
vocal  registers  (chest-voice,  head-voice, 
falsetto),  so  named  from  its  forced  or 
unnatural  character  ;  often  reckoned  to 
the  head-register.  .  . False t' list,  a  falset- 
to singer. 

Fal'so.-a  (It.)  Yal?,^. .  .Falso  boi-done, 
(a)  see  Fabttrden  ;  {b)  the  reciting-note. 

Fancy.  A  short  piece  of  an  impromptu 
character  ;  a  fantasy. 

Fandango.     (Span.)     A    lively   Spanish 


■J- 


'^^^m 


dance  in  triple  time,  for  2  dancers  of 
different  se.x,  who  accompany  it  with 
castanets,  or  sometimes  (in  the  case 
of  the  man)  with  a  tambourine  The 
dance  alternates  with  vocal  couplets, 
both  dance  and  song  having  a  guitar- 
accomp.;  the  following  is   the  Castanet- 

rhythm:    /  J=f;  |  ^^^   J> 

Fanfa'ra  (It.),  Fanfare  (Fr.)  i.  A 
brass-band.— 2.     A  fanfare. 

Fan'fare.  A  flourish  of  trumpets  or 
trumpet-call,  either  in  the  orchestra, 
on  a  hunt,  or  at  warlike  gatherings. 

Fantasi'a  (It.;  Ger.  Fantasie' ,  Phan- 
tasie' ;  Fr.  Jantaisie.)  I.  An  impro- 
visation or  impromptu. — 2.  In  the  1 7th 
and  1 8th  centuries,  an  instrumental 
composition  in  free  imitation,  as  con- 
trasting with  one  in  strict  imitation. — 
3.  Later,  a  composition  free  in  form 
and  more  or  less  fantastic  in  character. 
—4.  A  term  loosely  applied  to  pot- 
pourris and  paraphrases.  .  ./■Vvi'  yb//- 
tasia,  that  part  of  the  first  movement  of 
a  symphony  or  sonata  which  follows  the 
double-bar  (repeat  of  first  part)  and 
precedes  the  reintroduction  of  the  prin- 
cipal theme  ;  it  consists  chiefly  of  a  free 
development  of  motives  taken  from  the 
first  part. 

Fantasie'ren  (Ger.)  ?^te  Fhantasieren. 
.  .  Fantasie' stiick,  see  Phantasiesiiick. 

Fanta'stico  (it.),  Fantastique  (Fr.), 
Fantas'tisch  (Ger.)  Fantastic,  giving 
free  rein  to  the  fancy. 

Fan'tasy.     See  J'aniasia. 

Farandoia,  Farando'le.  A  circle- 
dance  of  southern  1-  ranee  and  the  ad- 
joining Italian  provinces,  in  6-S  time 
and  very  rapid  tempo. 

Farce,  i.  {It.  fir'sa.)  A  one-act  opera 
or  operetta  of  ultra-comical  or  burlesque 
character. — 2.  {It.farsia.)  A  canticle 
in  the  \-ernacular  intermingled  wit.i 
Latin,  formerly  sung  at  the  principal 
festivals  of  the  R.  C.  Ghurch,  and  later 
finding  ludicrous  imitation  in  the  farsa 
or  farce. 

Fa'scia  (It.)  i.  A  tie.-— 2  {-pi.,  fascie). 
Ribs. 

Fastosamen'te  (It.)  Pompously,  in 
a  stately  siyle.  .  .Fas to' so,  pompous, 
stately. 

Fatigue-call.  A  signal  to  soldieVs,  call- 
ing them  to  fatigue-duty. 

Fattu'ra  (It.)     See  Fafture. 

Fausse  (Fr.,  masc. /(7«-r.)     False.../: 


FAUSSET— FIFTH. 


71 


quinte,  diinin.  fifth. .  ./^.  relation,  false 
relation. 
Fausset   (F"r.)     vSee  Falsetto. 

Faux  (Fr.)  False.  .  .Faux -ho union,  see 
FaburJeii. 

F-clef.  (Ger.  Fschliissel ;  Fr.  ch-f  de 
fa  ;  It.  chiave  di  basso.)     See  Clef. 

Fe'derklavier  (Ger.)     Spinet. 

Feeder.      In  the   organ,   see   Orgayt,  (i) 

Wind-stipply. 
Fei'erlich     (Ger.)       Festive ;      solemn, 

grave,  serious.     (Also  adverb^ 

Fei'Ien  (fier.)  To  file,  polish,  refine, 
put  the  finishing  touches  to. 

Fein  (Ger.)     Fine,  delicate,  refined. 

Feint,-e  (Fr.)     See  Ficta. 

Feld'fl6te,-pfeife  (Ger.)  i.  SecBaztem- 
flote. — 2.  A  fife. — 3.  See  Schweizer- 
fiote  2. 

Feld'stiick  (Ger.)  A  cavalry-call  or 
signal. 

Female  or  feminine  rhyme.  A  rhyme 
ending  with  an  unaccented  syllable,  as 
fate'ful — ungrate'ful. 

Fermamen'te  (It.)  Firmly,  with  de- 
cision. 

Ferma're  il  tuono.     See  Mcssa  di  voce. 

Ferma'ta  (It.),  Ferma'te  (Ger.)  i.  A 
pause,  stop,  or  interruption,  as  that  be- 
fore the  cadenza  of  a  concerto. — 2.  A 
hold  (^). — 3.  A  stop  (on  the  violin). 

Fermez'za,  con  (It.)  In  a  firm,  de- 
cided, energetic  style  {deciso). 

Fer'mo  (It.)  Firm,  decided  ;  fi.\ed,  un- 
changed (as  canto  feniio). 

Fer'ne  (Ger.)  Distance.  .  .  Wie  a  us  der 
Feme,  as  if  from  a  distance. 

Fern'fiote  (Ger.)  A  covered  8'  organ- 
stop  of  very  soft  tone. 

Fern'werk  (Ger.)     Echo-organ. 

Fero'ce  (It.)  Wild,  fierce,  vehement... 
Ferocita' ,  wildness,  vehemence.  ..  C"t?« 
ferocita,  wildly,  vehemently. 

Fer'tig  (Ger.)  Ready;  done,  finished  ; 
prompt,  skilful,  6.e\lQT0\i?,...Fer'tigkeit, 
readiness,  skill,  dexterity ;  technical 
finish. 

Ferven'te  (It.)  Fervent,  ardent,  pas- 
sionate. 

Fes  (Ger.)     FI7 . .  .Fes'es,  F^b- 
Fast  (Ger.)     I.  A  festival. . . Musik'fest, 
mus.  festival.— 2.  Firm,  steady,     (Also 


Festivamen'te  (It.)  In  a  gay,  festive 
manner. .  ./>j-//t7V<?',  festivity,  mirth: 
con  f.,  in  a  gay  and  festive  style. .  .Fes- 
ti'vo  {Gqt.  fesl'lich),  festive,  festal  (also 
festo'so). 

Feu'er  (Ger.)  Fire,  ardor,  passion... 
Feu'erig,  fiery  ;  with  fire,  ardently,  pas- 
sionately. 

F-hoIes.  (Ger.  F' -locker ;  Fr.  les  F.) 
The  2 /"-shaped  soundholes  cut  in  the 
belly  of  the  violin,  etc. 

Fiac'co  (It.)     Languishing. 

Fia'sco  (It.)     P'ailure. 

Fia'to  (It.)  Breath,  breeze,  wind... 
Struinen'to  daf,  wind-instr. 

Fic'ta,-um  (Lat.,  "  feigned".)  Fa  f.c'- 
tum,  see  Fa.  .  .Mu'sicafcta,  see  Mu- 
sica,  in  Appendix. 

Fiddle.  (Ger.  Fi'del,  Fie'del.)  See  Vio- 
lin. .  .Fiddle-how,  fiddlestick,  see  Bow. 

Fi'des  (I.at.)  I.  The  string  of  a  mus. 
instr. — -2.  A  lute,  lyre,  cithara. 

Fi'dicen  (Lat. ;  iem.  fidici)ui.)  A  player 
on  a  stringed  instr. 

Fidic'ula  (Lat.)     Dimin,  of  Fides. 

Fidu'cia  (It.)     Confidence,  boldness. 

Fie'del  (Ger.)  TidtMe.  .  .Strok'fedel, 
.xylophone. 

Fier,  Fiere  (Fr.)     Proud,  haughty. 

Fie'ro,-a  (It.)  Wild,  fierce  ;  bold,  vig- 
orous. .  .Fieramen'te,  wildly,  boldly.  .  . 
Fierez'za,  fierceness,  boldness,  vigor. 

Fife.     (Ger.  Quer'pfeife  ;  Fr.  ffre  ;  It. 
piffe'o.)     I.    An    octave 
cross-flute  with  6  holes  and 
without  keys  (thus  differ- 
ing   from    the     Ficeolo)  ; 

compass  about — >    %) 

used  chiefly  as  a  march-accomp.  with 
the  drum. — 2.  An  organ-stop  of  2-foot 
pitch ;  a  piccolo-stop. 

Fifteenth.  I.  (Ger.  Quint' dezi me;  Tr. 
quinzieme ;  It.  iptindice'sima.)  A 
double  octave.— 2.  An  organ-stop  of  2- 
foot  pitch. 

Fifth.  (Ger.  Quin'te  ;  Fr.  quinte  ;  It. 
quin'ia.)  An  interval  of  5  diatonic  de- 
grees (see  Intey-<al)  ;  also,  the  5th  de- 
gree in  the  diatonic  scale,  the  dominant. 
..The  typical  or  standard  interval  of 
this  name  is  ihe perfect  (or  major)  fifth, 
equal  to  the  interval  between  the  key- 
note and  the  fifth  tone  of  1,^:  -=?  - 
the 


diatonic  scale  ;  e.  g.  1^^ — '^-— 
{c-g),  the  vibrational  ratio  being  r:j^::2:3. 
.  .Diminished     (imperfect ,      defective. 


72 


FIFTHY— FINGER-CYMBALS. 


minor,  or  false)  fifth,  an  interval  nar- 
rower by  a  semitone  than  a  perfect  fifth. 
.  .Augmented  {pi  iipt'r feet,  superfiiioiis, 
or  extreme)  fifth,  one  wider  by  a  chro- 
matic semitone  than  a  perfect  fifth. . . 
Consecutive  {or parallel)  fifths ,  see  Con- 
secutive. . .  Covered  (concealcdox  hidden) 
fifths,  see  Octave.  .  .  Circle  of  fifths, 
see  Temperament. 

Fifthy.  Having  the  second  harmonic 
(fifth  above  the  octave  of  the  generator) 
specially  prominent. 

Figur'  (Ger.)     See  Figure  2. 

Figu'ra  mu'ta  (Lat.  and  It.)     A  rest. 

Figu'ra  obli'qua  (Lat.)  The  "oblique 
figure"  of  Plain  chant  and  mensurable 
music  was  a  simple  ligature  formed  by 
uniting  2  notes  ;  {a)  in  Plain  chant,  it 
was  written  in  2  ways  : 

I.  2. 


~^  s   |-f^>—  s""g  ^ 


{b)  in  mensurable  notation  thus  ; 


al  1 
i^l~  cases  the 
ends  of  the  figure  marked  the  seats  of 
the  2  notes.  In  the  midst  of  a  ligature 
it  possessed  no  special  signiiicance  ;  but 
at  the  termination  it  denoted  the  imper- 
fection of  the  final  note. 

Flg'ural.  See  Figtiraie.  .  .Figural'ge- 
sangiGcr.),  cantus  figuralis.  ..Figural'- 
musik,  unequal  or  figurate  counterpoint. 

Figurate.  (Ger.  figuriert' ;  Fr.  figure; 
It.  figura'to.)  Having,  or  consisting 
of,  figurations.     (Also  Figurative.) 

Figuration,  i.  In  counterpoint,  the 
introduction  of  comparatively  rapid  fig- 
ures or  phrases,  containing  passing  and 
changing-notes,  into  the  counterpoint. 
— 2.  The  variation  of  a  theme  by  accom- 
panying it  with  florid  runs  and  pas- 
sages, or  by  substituting  for  its  own 
melody-notes  more  or  less  florid  varia- 
tions.— 3.  The  writing-out  of  a  figured 
bass. 

Figure.  I.  (Ger.  Figur';  Yx.  figure. 
It.  figur  a!)  A  distinct  group  of  notes, 
a  motive. — 2.  (Ger.  Ziffcr;  Fr.  chiffre; 
It.  ci'fra.)  A  numeral,  as  used  in 
thorough-bass. 

Figured.  1.  (Ger.  bezif'fert;  Yx.  chif- 
fre{e);  It.  cifra'to.)  Provided  with  fig- 
ures, as  a  bass  (see  Thorough-bass). — 
2.   Figurate. 

Fil  (Fr.)     Thread  (of  a  violin-string). 


Filar'  il  tuo'no,  la  voce  (It.)  In  the 
Italian  method  of  singing,  to  produce 
an  even,  sustained  tone,  without  cre- 
scendo or  diminuendo.  (Also  afiFilar' 
il  tuono;  Fr.  filer  un  son,  la  voix.) 

Fil'pen  (Ger.)     See  Fistulieren. 

Fi'lum  (Lat.)     Stem  (of  a  note). 

Fin  (Fr.)     End,  close. 

Final.  In  Gregorian  music,  that  tone 
(in  any  mode)  on  which  the  melody 
must  end  (equiv.  to  key-note  or  tonic); 
in  the  authentic  modes  it  was  the  low- 
est tone  ;  in  the  plagal  modes,  the  4tb 
tone  from  below.  Irregular  final  tones 
were  called  confinals . . .  Final  close, 
closing  cadence. 

Fina'le  (It.)  i.  A  final. — 2.  The  con- 
cluding movement  of  a  sonata,  sym- 
phony, etc. ,  or  the  closing  number  of 
an  act  in  an  opera.  An  operatic  finale 
is  generally  an  ensemble  for  soloists 
and  chorus,  and  intended  to  have  a 
highly  dramatic  or  otherwise  striking 
effect. 

Fina'lis  (Lat.)     See  Acccntus. 

Fi'ne  (It.)  End,  close  ;  indicates  either 
the  end  of  a  repeated  section  (after  the 
da  capo  or  dal  segno),  or  the  end  of  a 
piece  in  several  divisions. 

Fing'er  (Ger.)  Finger.  .  .Fing^erbildner, 
("finger-developer"),  see  Dactylion. 
An  apparatus  of  this  name  was  also  in- 
vented by  Seeber,  and  consists  of  a 
separate  attachment  for  each  finger, 
whereby  the  bad  habit  of  bending  the 
last  joint  inwards  is  corrected. .  .Fing'- 
erfcrtigkeit,  "  finger-de.xterity",  agility 
and  readiness  of  the  fingers.  .  .Fing'er- 
L'iter,  see  Chiroplast.  .  .Fing' ersatz, 
Fing'ersetzung,  fingering;  eng'er  F., 
close  fingering  ;  gedehn'ter  F.,  spread 
fingering,  stretches. .  .Fing'erwechscl, 
change  of  fingers. 

Fingerboard,  i.  (Ger.  Griff'hretl;  Fr. 
touche,  inauche:  It.  tastie'ra.)  In  the 
violin,  guitar,  etc.,  the  thin,  narrow 
strip  of  wood  glued  upon  the  neck, 
above  which  the  strings  are  stretched, 
and  on  which  they  are  stopped  with  the 
fingers  of  the  left  hand. — 2.  See  Key- 
board. 

Finger-cymbals.  Very  small  cymbals, 
held  in  pairs  on  the  thumb  and  fore- 
finger of  both  \iz.x\.i\%.  .  .Finger-hole 
(Ger.  Ton'loch),  in  the  flute,  clarinet, 
etc.,  a  hole  in  the  tube,  to  be  closed  by 


FINGERING-FLAUTANDO. 


73 


a  finger  or  by  a  lever  operated  by  a 
finger,  thus  changing  the  pitch. 
Fingering.  (Ger.  Fing'ersatz,  Appli- 
katitr' ;  Fr.  doigter;  It.  ditteggiatii'ra.) 
I.  The  method  of  applying  the  fingers 
to  the  keys,  holes,  strings,  etc.,  of  mus. 
instr.s. — 2.  The  marks  guiding  the 
performer  in  placing  his  fingers. . .  Eng- 
lish {or  American  f)  fingering  (for  the 
pfte.),  that  in  which  notes  taken  by  the 
thumb   are   marked  x  (or  +)  with  I  2 

3  4  for  the  fingers  ;  German  (or  conti- 
nental) fingering,  that  in  which  the 
thumb  is  marked  i,  and  the  fingers  2  3 

4  5.  (An  earlier  German  system  re- 
sembled the  English,  merely  using  a  o 
instead  of  the  x  for  the  thumb.) 

Fini're  il  tuono.     See  Messa  di  voce. 

Fini'to  (It.)     Finished. 

Fi'no  (It.)     Till,  up  to,  as  far  as. 

Fin'to,-a  (It.)  Feigned. . .  Caden'za  fin- 
ta,  deceptive  ca.dQnce..  .J'a  fin  to,  see 
/•'a  feint. 

Fiochet'to  (It.)  Somewhat  hoarse  ; 
faint,  y€\\&d.-.Fiochez'za,  hoarseness. 
.  .Fio'co,-a,  hoarse,  faint,  veiled. 

Fioreggia're  (It.)     To  figurate. 

Fioret'to  (It.)  Any  melodic  embellish- 
ment. 

Fiori'to  (It.)  Florid,  embellished. . . 
Fiorittc'ra,  an  embellishment,  an  orna- 
mental turn,  flourish,  or  phrase  intro- 
duced into  a  melody  (commonly  used 
in  pi.,  fioriture). 

First.  I.  Of  voices  or  instr.s  of  the 
same  class,  the  highest ;  e.  g.  first  so- 
prano, first  violin. — 2.  In  the  staff,  the 
lowest ;  as  first  line,  first  space. — 3. 
IhG  first  string  of  an  instr.  is  the  high- 
est.— 4.  As  the  name  of  an  interval, 
the  prime  or  unison. 

Fis  (Ger.)     F^. .  .Fis'it,  F  x  . 

Fis'telstimme  (Ger.)  Falsetto.  (Also 
Fistel.) 

Fis'tula  (Lat.)    Pipe. 

Fistulie'ren  (Ger.)  i.  To  sing  falsetto. 
— 2.  Of  an  organ-pipe,  to  overblow  in 
such  wise  as  to  sound  (unintentionally) 
some  harmonic  tone  instead  of  the 
fundamental. 

Fixed  Do.  The  fixed-Do  system  of 
solmisation  is  that  in  which  the  tone  C, 
and  all  its  chromatic  derivatives  (CJ, 
t'x  ,  and  C\),  C^-y)  are  called  Do,  D 
and  its  derivatives  AV,  etc. ,  in  whatever 
key  or  harmony  they  may  appear  ;    the 


syllables  are  then  termed  fixed  syllables. 
,  .Fixed- tone  instr.,  (or  instr.  of  fixed 
intonation),  one  (like  the  pfte.  or  or- 
gan) the  pitch  of  whose  tones  cannot 
be  modified  at  the  player's  pleasure 
like,  for  e.xample,  the  tones  of  the 
violin. 
Flag.  I.  Ahook(^^). — 2.  Abbr.  for 
fiageolet  (-tones). 

Flageolet,  i.  (Ger.  Flageolett' ;  Fr. 
flageolet;  It.  fiagiolet'ta.)  A  modern- 
ized y/zJ/t"  a  bee,  a  small  wind-instr.  of 
the  whistle  family.  There  are  2  species 
still  in  use,  the  English  and  the  French  ; 
the  latter  is  the  more  complicated,  hav- 
ing 4  holes  above  and  2  below,  various 
au.xiliary  keys,  g.,^    It    is    not 

and  a  compass  b^     used  in  the 

of    2    octavesp^ \f^ — orchestra. .. 

and     3    semi-K^)     ^  D  0  u  b  I  e 


tones, J,!-' to^'7 :  •-'  fiageolet, &n 

instr.  inv.  by  Bainbridge  about  1800, 
consisting  of  2  flageolets  of  different 
size  placed  side  by  side  and  having  a 
common  mouthpiece ;  simple  duets 
could  be  played  on  it,  but  it  is  no  longer 
in  use. . .  Flageolet-tones,  see  Harmonic 
2. — 2.  A  small  flute-stop  in  the  organ, 
of  I  or  2-foot  pitch. 

Flageolett'  (Ger.)  i.  Flageolet. — 2. 
General  term  for  the  harmonics  (Flageo- 
let'tone)  produced  on  the  violin,  etc. 

Flaschinef    (Ger.)      Obs.   spelling  of 

Flageolett. 

Flat.  (Ger.  Be;  Fr.  be'mol ;  It.  bemol'le.) 
The  character  f? ,  which  lowers  the  pitch 
of  a  note  before  which  it  is  set  by  a  semi- 
tone, and,  when  set  in  the  signature, 
has  a  like  effect  on  notes  occurring  on 
its  line  or  space  (and  every  octave  of 
such  line  or  space)  unless  cancelled. — 
Some  earlier  composers  used  the  'rf  in- 
stead of  a  ;  whenever  a  note  was  to  be 
lowered  by  a  semitone. — The  double 
fiat  pi7  lowers  a  note  by  2  chromatic 
semitones  ;  for  it  the  great  fiat  j?  was 
sometimes  written. . .  Flat  fifth,  a  dimin- 
ished fifth..  .Flat  tioting,  a  method  of 
tuning  the  lute  (also  called  French  fiat 
tuning,  by  reason  of  the  comparative 
lowness  of  the  earlier  French  pitch). 

Flatter  la  corde  (Fr.)  "  To  caress  the 
string,"  i.  e.  to  play  (on  bow-instr.s) 
with  graceful  and  tender  expression. 

Flautan'do,  Flauta'to  (It.)  A  direc- 
tion in  music  for  the  violin,  etc. ,  to  play 
near  the  fingerboard,  and  thus  to  pro- 


74 


FLAUTO— FOLK-SONG. 


ducea  somewhat  flute-like  tone. .  .Also, 
occasional  for  flageolet. 

Fla'uto  (It.)  Flute  ../"/.  a  becco,  flute 
i  bee  .  . y-7.  pic'io/o,  see  Piccolo. .  . Fl. 
traver'so,  cross  or  transverse  flute. .  . 
Flaiito  also  frequently  occurs  as  a  name 
for  organ-stops,  e.  g.  flauto  ama'bile, 
flauto  dol'ce,  cic. .  .Flattti'tio,  a  small 
flute..  .Flauti'sta,  a  flute-player,  flutist. 
.  .Flauto' lie,  a  large  or  bass  flute. 

Fle'bile  (It.)  Tearful  ;  plaintive,  mourn- 
ful. 

Flessi'bile  (It)     Fle.\ible. 

Flick'oper  ((ler  )     See  Pasticcio. 

Fling.  A  spirited  Scotch  dance,  resem- 
bling the  Reel,  and  in  quadruple  time. 

F'-16cher  (Ger.)  y-hules. 

Florid,  Embellished  with  figures,  runs, 
passages,  etc. 

Flo'te  (Cler.)  V\\i\.e. ..  Flo' ten  bass,  h&ss 
flute. .  .  Flii' tcnstivtme,  a  flute-stop  (or- 
gan).. .  Flo'teiiwerk,  a  small  organ  hav- 
ing only  flue-pipes  (opp.  to  Schnarr- 
werk,  Zungenwerk,  Kohriverk,  and 
Regal). 

Fliich'tig  (Ger.)  Lightly,  nimbly,  airily  ; 
fugitively,  hastily,  superficially.  (Also 
adj.) 

Flue-pipe.  (Ger.  Labial' pfeife ;  Fr. 
tuyau  a  bouche ;  It.  can'na  d' a'niina.) 
See  PiJ'e  ;  also  Stop  2. 

Flii'gel  (Ger.,  "wing".)  i.  Formerly, 
a  wing-shaped  clavier  (clavichord)  ; 
now,  a  grand  ■^{\.Q....Flu'gelharfe,  see 
Spitzharfe..  .Flii'gelhorn,  bugle,  key- 
bugle. — 2.    See  Bart. 

Flute.  (Ger.  Flo'te;  Yr.  fliite ;  It. 
Jla'ttto.)  I.  The  orchestral  flute  (also 
called  German  flute,  cross  flute,  and  D- 
flitte,  from  its  origin,  the  position  in 
which  it  is  held,  and  its — former— low- 
est tone  respectively),  in  its  present 
form  as  improved  by  Boehm,  has  a 
wooden  tube  of  cylindrical  bore,  pro- 
vided with  14  ventages  closed  by  keys, 
and  caused  to  sound  by  a  current  of  air 
projected  from  the  player's  mouth 
against  the  feather-edge  of  an  oval 
orifice  near  the  upper  end  of  the 
tube  ;  the  air-column  within  the  tube 
is  set  in  vibration  in  the  same  way 
as   that   within    a  g,,^^ 

flue-pipe  in  the  or-  ^  (!•:) 

gan.  Compassfrompzjfi A       I    - 

<-'   to    (••   (rare  ex-F(^       1       |/       

tremes  h  and  c'^'i,)  :   tJ     (»■)  ■*■ 

the  first  octave  is  obtained  by  moderate 


Flute 


in  C 

in  £>[> 
in  ii^ 


wind-pressure,  the  second  and  third  by 
augmenting  and  forcing  it,  thus  causing 
the  tone  to  change  (by  overblowing)  to 
the  higher  octave.  It  is  a  non-trans- 
posing instr.,  and  its  music  is  therefore 
written  at  the  pitch  at  which  it  is  to  be 
played.  Together  with  the  octave-flute 
or  piccolo  it  forms  an  incomplete  family, 
made  in  6  sizes  : 

(inC 
Piccolo -<  in  D)^ 
{  in  E'y 

the  typical  member  of  which  is  the  C- 
flute.  Its  powerful  and  mellow  tone 
(more  reedy  than  that  of  the  old  flute), 
and  extraordinary  flexibility  and  agility, 
render  it  the  leader  of  the  wood-wind. 
— '\^\\&  piccolos  in  Dty  and  E^  are  chiefly 
used  in  military  music. — In  the  15th  and 
i6th  centuries  complete  families  of  flutes 
were  constructed,  embracing  bass,  alto, 
and  treble  instr.s. — 2.  Direct  Flute, 
the  flageolet  and  fliite  H  bee,  having  a 
moutJipiece  at  the  eitd. 

Flute  (Fr.)  Flute. ../"/.  h  bee,  a  direct 
flute. ../•/.  allemande,  a  German  flute. 
.  .Fl.  a  pavilion,  an  8-foot  organ-stop. 
.  .Fl.  d' amour,  (a)  a  flute  in  B\)\  (b)  a 
soft-toned  organ -stop. .  ./'Z.  d'Angle- 
terre,  flageolet. .  .  /'/.  douce,  flauto  dolce. 
.  .F'..  du  Poitou,  bagpipe  (cornemuse). 
..Fl.  hannonique,  fl.  octaviante,  see 
Harmonic  stop. .  .Fl.  traversiere,  trans- 
verse flute. 

Flute-'work.  In  the  organ,  the  flute- 
liwrk  includes  all  flue-stops  not  belong- 
ing to  the  pri>icipal--ivork  and  gedact- 
work,  as  well  as  various  modifications 
of  these  two  groups. 

Fly.  The  hinged  board  or  flap  used  as 
a  cover  for  the  keyboard  of  the  pfte. 
and  organ. 

Fo'co  (It.)     See  Fuoco. 

Fogliet'to  (It.)  In  orchestral  music,  the 
part  for  the  leader  ;  it  contains  cues  for, 
or  the  obbligato  passages  of,  the  other 
instr.s,  and  can  therefore  be  used  by  the 
conductor  in  lieu  of  a  score. 

Foire  des  enfants  (Fr.)  See  Toy  Sym- 
phony. 

Fois  (Fr.)  Time  ;  premih-e  fois,  first 
time  ;  seconde  fois,  second  time. 

Foli'a  (Span.  ;  It.folli'a;  usually  in  the 
plural,  as  Fr.  "  J'olies  d'Espagne"  )  A 
Spanish  dance  for  one  person,  in  slow 
tempo  and  3-4  time. 

Folk-song.  (Ger.  Volkslicd)  A  song 
of  the  people,  tinged    by  the   musical 


FONDAMENTAL— FORM. 


75 


peculiarities  of  the  nation,  and  generally 
of  a  simple,  unaffected  character,  and 
in  ballad-form. — Also,  a  song  imitative 
of  the  above. 

Fondamental,-e  (Fr.),  Fondamenta'le 
(It.)  Fundamental. . .  Son  foudanienlal, 
generator. — Basse  fondamentale,  see 
Basse. 

Fondamen'to  (It.)  Fundament,  funda- 
mental part. 

Fonds  d'orgue  (Fr.)  The  foundation- 
stops  of  the  organ. 

Foot.  I.  (Ger.  Fuss;  Yx.  pied ;  It. 
pie'de.)  In  prosody,  a  group  of  syl- 
lables, one  of  which  is  rendered  special- 
ly prominent  by  an  ictus  (accent)  ;  it 
corresponds  to  the  meastire  in  music. 
— 2.  (Gtr.  Stiefel.)  That  part  of  an  or- 
gan-pipe below  the  mouth. — 3.  (Obs.)  A 
drone-bass;  a  refrain  or  burden. — 4.  The 
unit  hi  measure  in  designating  the  pitch 
of  organ-stops,  and  (by  extension)  that 
of  other  instr.s,  and  of  the  several  oc- 
taves of  the  musical  scale  ;  thus  an  8- 
foot  (8')  stop  is  one  whose  longest 
pipe  pro-  p^y).  —  and  is  about  8  feet 
duces  the  P^  —  in    length,    i.  e.   a 

tone    C :  :S"      stop   whose   pipes 

produce  tones  corresponding  in  pitch  to 
the  l<eys  depressed  ;  a  4-foot  (4')  stop  is 
an  octave-stop  ;  a  16-foot  (16')  stop 
yields  tones  an  octave  below  those 
indicated  by  the  keys  pa;^ 
touched.  The  8  foot  octave  F^^ 
embraces  the  7  tones  from  C  '^- 

upwards  (comp.  Pitch,  %\  );  the  flute 
is  an  8-foot  instr.  (because  the  pitch 
of  its   tones  is  the  same  as  that  indi- 


cated by  the  notes),  while  the  piccolo 
is  a  4-foot  (or  octave)  instr. — The 
derivation  of  the  term  is  as  follows  :  The 
velocity  of  sound-waves  is  estimated 
at  1056  feet  per  second  ;  by  dividing  this 
velocity  by  the  vibration-number  of  the 
given  tone,  we  obtain  the  length  of 
one  sound-wave  of  that  tone  ;  for  in- 
stance, the  tone  Ci  having  33  vibrations 
per  second,  1056-5-33  =  32  feet,  the 
length  of  one  sound-wave,  and  likewise 
the  length  of  an  open  flue-pipe  capable 
of  producing  the  tone  C2  (CCC). 

Foot-key.     Pedal-key  (of  an  organ). 

Foreign  chords  or  tones  are  such  as 
do  not  belong  to  a  given  key. 

Forla'na  (It.),  Forlane  (Fr.)  A  lively 
Italian  dance  in  6-8  or  6-4  time. 

Form.  Form  in  music  is  that  element, 
or  combination  of  elements,  which,  by 
securing  a  proper  ba/aiue  between  con- 
trasting parts,  produces  y?;//j/;  of  effect, 
or  Unity.  What  are  called  the  musical 
forms  depend,  in  varying  degree,  for 
their  distinctive  features,  (i)  on  rhyth- 
mical and  metrical  grouping  ;  (2)  on  the- 
matic construction  ;  (3)  on  melodic  and 
harmonic  contrast ;  (4)  on  contrasting 
tempi  ;  and  (5)  on  contrasting  moods. 
Points  I  and  2  cover  the  ground  of  (I) 
mechanical  syuiinetiy  ;  the  contrasts  of 
melody,  harmony,  tempo,  and  mood 
postulate  a  more  highly  developed  sense 
for  (II)  (esthetic  symmetry. 

I.  (i.)  The  element  of  metrical 
grouping  is  eminently  characteristic  of 
ordinary  dance-airs  and  simple  songs  ; 
the  following  example  exhibits  its  sim- 
plest form : 

Period. 


Period. 


P 


Phrase 


:e= 


=  :& 


i5=3=:=S- 


Phrase 


E^E 


r=ac=e-3=: 


Analysis  of  this  Sentence  {compound 
period,  here  a  period  of  16  measures), 
which  contains  a  musical  thought  com- 
plete in  itself,  shows  it  to  be  composed 
of  2  simple  8-measure  Periods,  each 
period  being  formed  by  2  Phrases,  each 


of  which  embraces  2  Sectionsiovmtd,  in 
turn,  of  2  Measures  each.  [The  term 
motive  for  measure  is  to  be  rejected  as 
misleading  and  unnecessarily  confusing, 
except  in  the  qualified  shape  of  measure- 
motive^      The  punctuation  of  such  a 


76 


FORM. 


musical  sentence  presents  a  striking 
analogy  to  that  of  the  graminatical 
sentence  from  which  its  terminologyis  in 
part  borrowed  :  Phrase  i  =  subject  and 
predicate  \_comma\  Phrase  2  =:  limiting 
clause  [^seinicoloii].  Phrase  3,  further 
modification  [comwa],  Phrase  4,  second 
limiting  clause  and  conclusion  of  sen- 
tence [j>en'o(/}.  The  exact  symmetrical 
balance  here  observable,  of  2  +  2,  4+4, 
and  8  +  8,  though  of  very  common  oc- 
currence, is  not  the  general  rule,  and 
would  engender  wearisome  monotony 
(especially  in  extended  compositions)  if 
regularly  adhered  to  ;  the  variety  of 
changes  caused  by  triple  time,  com- 
pound measures,  the  opposition  of  un- 
equal phrases,  the  expansion  or  con- 
traction of  periods,  etc.,  etc.,  is  prac- 
tically limitless.  But  in  all  the  musical 
forms  in  which  metrical  symmetry  is 
observed,  the  simple  period  is,  in  one 
shape  or  another,  the  fonn-elcinent  or 
gerni-ctll,  so  to  speak,  on  which  their 
construction  is  founded. 

I.  (2.)  A  theme  or  melody  simply 
repeated,  (formula  A -h  A,  or  |:  A  :|), 
presents  no  distinctive  departure  from 
the  simplest  form  ;  repeated  in  alterna- 
tion   with    another    |:  A  +  B  :|    it    ex- 

I.  Exposition : 

ist  Episode  : 
II.  First  Development:  "         "  5th 

2d  Episode :  "        "   zd 

III.  Second  Develnpment :  "         "    ist 

Stretto :  Theme  brought  out  on  the   4th 
—  Coda. 


hibits  the  peculiar  feature  of  the  song 
with  refrain  ;  once  repeated,  after  any 
digression  (interlude,  or  second  theme), 
it  produces  the  so-called  Song-form 
{Liedform,  A-fB+A),  or  that' of  the 
Minuet  with  Alternativo.  With  2  dis- 
tinct themes  alternating  as  follows : 
(|:  A  +  B  :|  -t-  B  [A]  -t-  A  +  B  [in 
the  original  key  of  A]),  it  has  the 
Sonata-form,  or  Fir st-)novement Form; 
while  the  Rondo-form  has  the  following 
alternations  :  ( A  +  B  -f-  B  [A]  -f  A  +  B 
[B2  in  same  key  as  A  ;  development- 
section  in  the  middle]);  or  :  (A  -I-  B  4-  A 
[in  same  key  as  B]  +  B  [same  key 
as  A]  +  A).  It  must  be  added,  how- 
ever, that  the  Song-form,  Sonata-form, 
and  Rondo-form,  as  carried  out  in 
practice,  present  frequent  deviations 
from  the  above  formulas. — A  theme  re- 
peated or  imitated  while  still  progress- 
ing, produces  the  form  of  the  Canon, 
Catch,  or  Round ;  one  or  more  themes 
repeated  in  conjunction  or  alternation 
with  an  accompanying  or  contrasting 
counterpoint,  according  to  a  more  or 
less  regular  formula,  the  Fngue.  The 
following  is  a  fairly  exhaustive  formula 
for  the  construction  of  a  simple  2  part 
fugue : 

Theme  on  1st  deg.  (tonic)  Answer  on  5th  (dominant) 

"         "   6th    "     (in  augment.)         "         "  3d  (in  diminut.) 


II.  (i.)  Theelementof  harmonic  con- 
trast is  derived  in  part  from  contrasting 
themes,  in  part  from  the  deliberate 
choice  of  keys  directly  or  remotely  re- 
lated to  that  of  the  leading  theme  ;  in 
part,  also,  from  the  harmonies  accom- 
panying or  varying  the  theme  or  themes. 
Dependence  on  the  harmonic  variation 
of  repetitions  of  a  single  theme,  to- 
gether with  the  lighi  and  shade  of  vary- 
ing tempi,  is  an  important  principle  of 
the  Theme  with  Variations. 

II.  (2.)  In  cj'clic  compositions  (the 
Cyclical  Forms'),  contrasting  tempi  (S  = 
slow,  F  =  fast)  in  the  successive 
movements  are  a  prominent  feature. 
The  old  Suite  originally  had  the  for- 
mula (S  -+-  F  -+-  S  +  F) ;  later  a  fifth 
movement,  either  slow  or  fast,  was  in- 
serted after  (seldom  before)  the  2nd  slow 
one.  The  Sonata  and  Symphony  are 
essentially  alike  in  plan  ;  either  (F  -t- 
S  -|-  F),  or  more  commonly  (F  +  S  4-  F 
+  F),  or  (S  -f  F  +■  S  +  F)  or  (F  +  F 


(inverted)  "        "  7th  (inverted) 

"     (with  modulation  to  the  subdominant) 

H-  S  -f-  F) ;  or,  in  5  movements,  (F  -f  S 
-f  F  -j-  S  +  F) ;  etc. ;  a  slow  closing 
7iio7iement  rarely  occurs. 

II.  (3.)  The  foregoing  formal  schemes 
are  a  product  of  the  slow  evolution  of 
centuries.  First,  the  primitive  dance- 
song  develops  into  lyric  and  epic  song — 
love-ditties,  ballads, — and  into  instru- 
mental dance-tunes  differently  named 
according  to  their  character  or  origin  ; 
while  a  parallel  progress  is  seeii  in  the 
rise  of  church-music  from  the  severe 
Gregorian  Chant  to  the  stupendous 
contrapuntal  works  of  the  late  middle 
ages  and  the  chaste  style  of  Palestrina. 
Instrumental  art-music  now  borrows 
and  develops  its  forms  from  the  vocal 
style  ;  the  forms  of  imitative  music  (can- 
on and  fugue)  gradually  near  perfection, 
finally  attained  by  J.  S.  Bach  ;  through 
the  adoption  by  artists  of  the  rhythmic 
melody  and  monodic  style  of  the  hitherto 
despised  natural  music  (folk-music), 
and   the   recognition  of  its    harmonic 


FORMARE  IL  TUONO— FREE  CHANT. 


77 


basis,  the  two  currents  of  art-music  and 
folk-music  are  slowly  merged  in  one 
broad  stream  ;  the  popular  dance-tunes 
are  transformed  into  art-forms,  and 
combined  in  the  Suite  ;  the  rondo- 
form  and  the  first-movement  (sonata-) 
form  are  evolved  step  by  step,  and  their 
combination  produces  the  Sonata  and 
Symphony;  which  latter,  discarding  the 
scheme  of  4  formal  movements,  and 
aspiring  to  the  uninterrupted  flow  and 
sweep  of  an  epico-lyrical  drama  without 
words,  becomes  the  Symphonic  Poem. 
[Compare  also  Passion,  Oratorio,  Op- 
era, Overture^ 

Forma're  il  tuono.    See  Messa  di  voce. 

Fort  (Ger.)  Off;  as  Flote  fort  (organ- 
music). 

Fort  (Fr.)  i.  Forte. — 2.  Skilful,  emi- 
ntKCr:TTempsfort,  strong  beat. .  .Four- 
nitur/^  J  tuyaiix  forte ,  a  mixture-stop  of 
3  ranks. 

Fortbien.  A  keyboard  stringed  instr. 
inv.  by  Friederici  in  175S,  having  a 
softer  tone  and  lighter  touch  than  the 
fortepiano  then  in  vogue. 

For'te  (It.)  I  {adjective).  Loud,  strong 
(abbr.  /)  ;  piii  forte  {pf),  louder  ;  po- 
co  forte  (also  //),  rather  loud  ;  forte 
piano  ifp),  accent  strongly,  diminish- 
ing instantly  to  piano ;  forteinen'te, 
loudly,  forcibly  ;  forte  possi' bile,  as  loud 
as  possible. — 2  {noun),  {a)  A  passage 
to  be  executed  loudly  or  forcibly  ;  (/') 
in  the  harmonium,  a  slide  within  the 
chest  containing  one  or  more  sets  of 
reeds,  opened  by  a  stop  or  knee-lever  to 
produce  a  forte  effect ;  sometimes  di- 
vided, one  section  affecting  the  treble 
side  and  the  other  the  bass  side. 

Fortepia'no  (It.)     Same  as  Pianoforte. 

Fortis'simo  (It.,  superl.  oi  forte.)  Very 
loud,  or  extremely  loud  or  forcible 
(abbr.  ff,  or  fffior  the  extreme)  ;  also 
forte  possi' bile  {ffff). 

Fort'riicken  (Ger.,  noun.)  The  ad- 
vance of  the  hand  on  a  keyboard  or  fin- 
gerboard, as  caused  by  the  repetition  of 
a  figure  with  the  same  fingering  but  at 
a  different  pitch. 

Fort'schreiten  (Ger.)      To  progress. . . 
Fort'schreitung,     progression  ;     Fort'- 
schreitung einer  Dissonanz' ,  resolution. 
?For'za  (It.)     Force,  vigor  ;   con  f.,  for- 
cibly, etc. 

Forzan'do  (It.,  "forcing,  straining".) 
With  force,  energy  ;  indicates  that  a 
note  or  chord  is  to  be  strongly  accent- 


ed ;  abbr. /z..  .Also  Forza'to,  Sfor- 
zan'do  {sfz). 

Forzar'la  vo'ce(It.)  To  force  the  voice. 

Foundation-stops.     See  Stop. 

Fourchette  tonique  (Fr.)   Tuning-fork. 

Fourniture  (Fr. )     A  mixture-stop. 

Four-part.  (Ger.  vier' stimmig ;  Fr.  h. 
qtiatrevoix  ;  \t.  a  tjtiat'lro  vo'ci.)  Set 
for,  or  performed  by,  4  parts  in  har- 
mony. 

Fourth.  (Ger.  Quar'te  ;  Fr.  quarte  ;  It. 
quar'ta.)  I.  The  fourth  degree  in  the  dia- 
tonic scale  ;  the  subdominant. — 2.  An 
interval  embracing  4  degrees  (see  Jn- 
tervac).  The  typical  or  standard  fourth 
xsihe  perfect  (or  inajor)  fourth,  equal 
to  the  interval  between  the  key-note  and 

the  4th  tone  of  its  vibrational 

the  diatonic  "@.'  ^=^  ratio  being 
scale,  as  c-f :  c  -.f  •.■.2:^.. . 

Dimifiisked  {imperfect,  defective,  mi- 
nor, or  false)  fourth,  an  interval  nar- 
rower by  a  chromatic  semitone  than  a 
perfect  (ourih. .  .Augmented  {pluper- 
fect, superfluous,  or  ex  tre>m)f our  th,onQ 
wider  by  a  chromatic  semitone  than  a 
perfect  fourth. 

Frangaise  (Fr.)  A  dance  in  triple  time, 
resembling  the  country-dance. 

Francamen'te  (It.)  Freely,  with  free- 
dom (of  deliver}'),  boldly  ;  frankly,  in- 
genuously. 

Franchez'za  (It.),  Franchise  (Fr.) 
Freedom,  confidence,  boldness. . .  Con 
fr.,  see  Francamente. 

Franz'ton  (Ger.)  "  French  pitch  "  ;  it  is 
lower  than  the  ordinary  Kammerton. 

Frapp6  (Fr.,  "beaten".)  The  down- 
beat ;  opp.  to  LevL 

Fra'se    (It.)      Phrase  ;    frase    larga  = 

largamente. .  .Fraseggia're,  to  phrase. 

Fred'do,-a   (It.)    Qo\A. .  .Freddamen'te, 

coldly. 
Fredon  (Fr.)  An  obsolete  term  for  a 
roulade,  trill,  or  tremolo  ;  also,  a  sign 
calling  for  a  florid  extension  of  a  single 
written  note. .  .Fredonnement,  trilling, 
warbHng  ;  hvLmmmg.  .  .Fredonner,  to 
trill,  warble  ;  to  hum,  sing  to  oneself. 
Free  chant.  A  form  of  recitative  music 
for  the  Psalms  and  Canticles,  in  which 
a  phrase,  consisting  of  2  chords  only,  is 
applied  to  each  hemistich  of  the  words. 
[Stainerand  Barrett.].  .Free  fugue, 
see  Fugue. .  .Free part,  an  independent 
part  added  to  a  canon  or  fugue  to  com- 
plete   or    enrich    the    harmony . . .  Free 


78 


FREGIATURA— FUGARA. 


reed,  see  Reed. .  .  Free  style  (of  compo- 
sition), that  in  which  the  rules  of  strict 
counterpoint  are  relaxed. 

Fregiatu'ra  (It.)    A  grace,  an  ornament. 

Frei  (Oer.)  Yt&q..  .Fiei'heit,  a  license 
or  liberty. 

French  Horn,  Sixth,  Violin-clef.  See 
the  nouns. 

Fret.  (Ger.  [equiv.]  Bund ;  Fr.  touche ; 
It.  ia'sto.)  One  of  the  narrow  ridges  of 
wood,  metal,  or  ivory  crossing  the  fin- 
gerboard of  the  mandolin,  guitar,  zither, 
etc.,  against  which  the  strings  are 
pressed  by  the  fingers  to  shorten  their 
vibrating  length  and  thus  raise  the  tone. 

Fretel,  Fret^le  (Fr.)  A  sylvan  pipe  ; 
the  Pan's-pipe  with  7  reeds.  Some- 
times called  sifflet  des  chaudroiiiiiers. 
(Also  fretetel,freteau,fretia2i,  frestel.) 

Fret'ta,  con  (It.)  With  haste,  celerity  ; 
hurriedly. 

Fricassee  (Fr.)  i.  A  sort  of  popular 
dance  interspersed  with  pantomime,  in 
vogue  in  the  iSth  century  in  the  (ke'd- 
ties  des  boulevards  at  Paris. — 2.  A  kind 
of  part-song  of  the  i6th  century,  each 
part  having  different  words. 

Fries  (Ger.)     Purfling. 

Frisch  (Ger.)  Brisk,  lively,  vigorous 
(also  adi'erl'). 

Froh'Iich  (Ger.)  Glad,  joyous,  gay, 
(also  adz^erb). 

Front'pfeife  (Ger.)     See  Prospekt. 

Frosch  (Ger.)     Nut  (of  a  bow). 

Frot'tola  (It.,  "  comic  ditty  ".)  A  pop- 
ular ballad  or  song  intermediate  between 
the  villanella  and  the  madrigal  ;  in 
great  vogue  during  tha  i6th  century. 

F'-Schlussel  (Ger.)     F-clef. 

Fu'ga  (Lat.  and  It.)  A  fugue..  .F.  ad 
oeta'vam  \_quiii' tai)i\  (Lat.),  fugue  at 
the  octave  [fifth]... /^.  aqua' lis  nio'tus 
(Lat.),  fugue  in  similar  motion,  the 
answer  ascending  and  descending  like 
the  subject.  . ./'.  al contra' rio  \iever'so, 
7-ove'scio]  (It.),  see  F.  contraria. .  .F. 
authen'tica  (Lat.),  fugue  with  a  subject 
ascending  above  the  key-note. .  .  F.  ca- 
no'nica  \tota'Hs'\  (Lat.),  a  canon.../'. 
compo'sita  (Lat.),  a  fugue  whose  subject 
progresses  by  conjunct  degrees.../^. 
contra'ria  (Lat.),  a  fugue  having  the 
answer  in  contrary  motion  to  the  sub- 
ject.../', del  tuo'no  (It.),  tonal  fugue. 
..F.  dop'pia  (It.),  double  fugue.  ../\ 
homopho'iui  (Lat.),  fugue  with  answer 


at  the  unison.../',  impro'pria  (Lat.), 
see  F.  irregula'ris. .  .F.  ineequa'lis 
(Lat),  see  /".  contraria.  .  .F.  inco7npo'- 
siia  (Lat.),  a  fugue  whose  subject  pro- 
gresses by  disjunct  degrees.../",  in 
conseguen'za  (It. ),  a  canon .  .  .  F,  in  con- 
tra'rio  lew'pore{Lat.),  see  F. per  ar'sin 
et  the' sin . . .  Fuga  in  no' mine,  a  ' '  fugue 
in  name,"  i.  e.  a  nominal  or  free  fugue. 
../'.  inver'sa  (Lat.),  a  fugue  worked 
throughout  in  double  reversible  coun- 
terpoint, so  that  the  inversions  of  the 
parts  may  appear  in  contrary  motion. 
.  ./".  irregula'ris  (hat.),  a  fugue  irregu- 
lar in  form.  . .  F.  li'bera  (Lat.  and  It.), 
a  fugue  with  free  episodes. .  .F.  liga'ta 
(Lat.  and  It),  a  fugue  without  free 
episodes,  strictly  developed  from  its 
subject  andcountersubject.  .  .F.  mix'ta 
(Lat.),  a  fugue  varied  in  development 
by  employing  different  contrapuntal  de- 
vices (augmentation,  diminution,  inver- 
sion, etc.). . ./'.  ohbliga'ia  (It.),  see  F. 
ligata. .  .F.  parti  a' lis  (Lat.),  a  fugue 
proper,  in  contradistinction  to  a  canon. 
.  .F.per  auginentatio' nein  \iliinitiutio'- 
fte/nl  (Lat.),  a  fugue  in  v.hich  the  answer 
is  in  augmentation  [diminution]  either 
throughout,  or  as  a  rule. . .  F.  per  the' sin 
et  ar'sin  (Lat.),  a  fugue  whose  subject 
begins  on  the  strong  beat,  and  the 
answer  on  the  weak  beat,  thus  shifting 
the  accents  throughout. ../'. /t'r  imi- 
tatio'nem  interrup' tain  (Lat.),  a  fugue 
in  which  the  answer  is  interrupted  by 
breaks  or  rests . .  F.  per  mo' turn  con- 
ira'riuiii  (Lat.),  see  F.  contraria.  ..F. 
perio'dica  (Lat.),  see  F.  partialis . .  .F. 
perpe'tua  (Lat.),  a  canon.  .  .F.plaga'lis 
(Lat.),  a  fugue  with  subject  descending 
below  the  key-note. .  . F.  pro'pria  (Lat.), 
see  /".  regularis .  ../'.  rea'le  (It.),  a  real 
fugue.  ..F.  rec'ta  (Lat.),  see  F.  cequalis 
mollis.  .  .F.  redi'ta  or  reddita  (It.),  a 
fugue  at  the  middle  or  end  of  which 
all  or  some  of  the  parts  progress  in 
canon .  .  .  F.  regula'ris  (Lat.),  a  fugue 
in  regular  form..  .F.  retrogra'da  (Lat.), 
a  fugue  having  the  answer  in  retrograde 
progression  ;  or  /".  retrogra'da  per  tno'- 
tum  contra' riuni,  when  the  answer  is  in 
retrograde  progression  and  contrary 
motion.  .  .F.  ricerca'ta  (It.),  a  fugue  in 
whose  working-out  the  rarer  and  more 
elaborate  contrapuntal  devices  are 
"  sought  out  "  for  display  ;  a  long  and 
elaborate  master-fugue.../',  sciol'ta 
(It.),  or  solu'ta  (Lat.),  see  F.  li'bera. . . 
F.  iota'lis  (Lat.),  a  canon. 
Fuga'ra.    (Ger.  Foga'ra,  Foga'ra.)     .\n 


FUGATO— FULL  ANTHEM. 


79 


organ -stop  having  metal  flue-pipes  gen- 
erally of  small  scale  and  8  or  4-foot 
pitch ;  tone  of  a  sharp,  "  stringy " 
quality. 

Fuga'to  (It.,  "in  fugue  stj'le  ".)  A  pas- 
sage or  movement  consisting  of  fugal 
imitations,  but  not  worked  out  as  a 
regular  fugue. 

Fu'ge  (Ger.)     Fugue. 

Fuggi're  la  caden'za  (It.)  To  avoid 
the  cadence  (by  interrupting  it). 

Fughet'ta  (It.,  dimin.  of  Fuga.)  A  short 
fugue,  usually  only  a  fugue-exposition. 

Fugue,  (Ger.  Fu'ge ;  Fr.  fugue ;  It. 
fu'ga.)  The  most  highly  developed 
form  of  contrapuntal  imitation,  based 
on  the  principle  of  the  equality  of  the 
parts,  a  theme  proposed  by  one  part 
being  taken  up  successively  by  all  par- 
ticipating parts,  thus  bringing  each  in 
turn  into  special  prominence.  The 
word  fugue  is  presumably  derived  from 
the  Latin  fugn,  a  flight,  which  aptly 
characterizes  the  chasing  and  changing 
of  the  subject  through  the  several  parts. 
The  elements  essential  to  every  fugue 
are(i)  Subject,  {2)  Ansiver,  (3)  Coujite)-- 
subject,  (4)  Stretto;  to  these  are  common- 
ly added  (5)  Episode,  (6)  Organ-point, 
(7)  C«/rty  the(8)  CWt/Arismerelyafortu- 
itous  appendage  to  the  actual  subject, 
bridging  over  the  interval  sometimes 
left  between  the  true  end  of  the  latter 
and  the  entrance  of  the  Ans-cce?: — The 
subject  is  usually  short  and  suggestive ; 
after  its  proposition  by  the  part  taking 
the  lead,  it  is  taken  up  by  the  part  next 
following  as  the  answer,  and  at  a  differ- 
ent interval  (usually  a  fifth  higher  or  a 
fourth  lower  than  the  original  one), 
being  then  accompanied  by  a  contrast- 


ing counterpoint,  the  counter  subject,  in 
the  first  part  ;  if  there  are  3  parts,  the 
3rd  resumes  the  subject  at  the  octave  of 
its  original  pitch,  followed  (if  there  are 
4  parts)  by  the  answer  in  the  4th.  This 
first  enunciation  of  the  subject  by  all 
the  parts  in  turn,  with  contrapuntal 
accomp.  in  the  rest,  is  called  the  Expo- 
sitiott  ;  this  is  commonly  succeeded  by 
an  Episode,  which  is  generally  construct- 
ed (for  the  preservation  of  unity  of 
effect)  of  motives  from  the  subject  and 
countersubject,  with  modulation  into  re- 
lated keys  ;  then  comes  the  Fi/st  De- 
velopment, or  Repercztssion,  in  which 
subject  and  answer  are  taken  up  by  the 
several  parts  in  a  different  order,  fol- 
lowed by  a  second  and  variously  modi- 
fied episode.  Further  developments 
and  episodes  follow  at  the  composer's 
pleasure,  varied  by  the  contrapuntal  de- 
vices enumerated  above,  and  generally 
in  freer  form,  the  subject  and  answer 
appearing  in  new  keys  and  at  a  differ- 
ent interval.  The  fugue  may  be  con- 
cluded by  a  Stretto  or  Final  Develop- 
tiient,  in  which  the  subject  and  answer 
overlap  each  other  in  consequence  of 
following  in  closer  succession  ;  the 
stretto  is  frequently  above  an  organ- 
point ;  or  the  organ-point  is  used  to 
support  the  freer  contrapuntal  combina- 
tions of  the  coda,  a  general  finale  or 
winding-up  ;  or  stretto  and  coda  are 
identical  ;  etc.,  etc. — The  modern  fugue 
has  2  principal  varieties:  (i)  T\\e.  Real 
Fugue,  in  which  the  original  form  of 
the  subject  is  preserved  in  the  answer 
(i.  e.  the  latter  is  an  exact  transposition 
of  the  former)  ;  and  (2)  the  Tonal 
Fugue,  in  which  the  subject  is  modified 
in  the  answer  in  order  to  return  to  the 
original  key  ;  e.  g. 


Subject. 


Answer  (Tonal). 


Not: 


Further  varieties  are  the  Double  Fugue 
(with  2  subjects,  the  exposition  of  the 
1st  being  followed  by  that  of  the  2nd, 
and  finally  by  the  combination  of  both)  ; 
— the  Triple  Fugue  (with  3  subjects)  ; 
etc. ;  a  fugue  with  2  or  more  subjects  is 
sometimes  called  a  Manifold  Fugue. — 
A  fugue  in  which  the  countersubject  is 
retained  and  developed  together  with 
the  subject  throughout,  is  also  called  a 
double  fugue.  The  most  elaborate 
lugal  form  is  the  I'uga  ricercata  (comp. 


Fuga). — Fugues  may  be  written  for 
voices  or  instr.s,  or  for  solo  instr.s 
(pfte.,  organ).     (Compare  Form  I,  2.) 

Fugued,  Fuguing.  See  Fuga'to.  Writ- 
ten in  either  strict  or  free  fugal  style. 

Fiih'rer  (Ger.)  "  Leader,  dux",  subject 
(of  a  fugue.).  .Fii/i'rung,  leading. 

Full  anthem.  See  Anthem. .  .  Full  band, 
a  military  band,  or  an  orchestra,  having 
all  the  customary  instr.s. .  .Full cadence, 
close,  see  the  noMns... Full  Choir  (di- 


8o 


FULLPFEIFE-GALANT. 


rection  in  organ-playing),  draw  all  stops 
of  the  choir-organ .  .  .  Full  chord,  one 
represented  by  all  its  tones  ;  also  (in 
concerted  music),  one  in  which  all  the 
parts  unite. . .  Full  Gnat  (in  organ-play- 
ing), draw  all  stops  of  great  organ.. . 
Full  orchestra,  see  Full  band..  .Frill 
organ,  with  all  stops  and  couplers 
drawn. ..  Full  score,  see  Score..  .Full 
stop  (in  lute-playing),  a  full  chord  fol- 
lowed by  a  pause  ;  also,  a  chord  in 
which  all  available  fingers  are  occupied 
in  stopping  the  strings . . .  Full  Swell 
(organ),  draw  all  stops  of  swell-organ. 
.  .Full  to  fifteenth  (in  organ-playing), 
draw  all  stops  but  mixtures  and  reeds. 

Fiiirpfeife  (Ger.)  A  dummy  pipe. .. 
Fiiirquitite,  a  very  sharp-toned  organ- 
stop  of  5^-foot  pitch,  to  be  drawn  only 
with  a  strong  combination  of  founda- 
tion-stops. .  .  Full'stelle,  a  passage  put 
in  to  "  fill  out" ;  padding.  .  .Fiill'stiinnte, 
(a)  a  part  reinforcing  a  principal  part  at 
the  octave  or  unison  ;  (d)  a  mutation- 
stop  a  third  or  a  fifth  above  the  normal 
pitch  ;  {(■)  pi.,  in  polyphonic  composi- 
tion, accessory  parts  not  treated  melodi- 
cally  like  the  principal  parts,  but  brought 
in  occasionally  to  complete  the  harmony 
or  mark  the  rhythm. 

Fundamental,  i.  The  root  of  a  chord. 
— 2.  A  generator  (in  this  sense  also 
fundamental  bass,  note  and  tone). .  . 
Fund,  chord,  triad,  see  Chord,  Triad. 
.  .Ftind.  position,  any  arrangement  of 
the  tones  of  a  chord  in  which  the  root 
remains  the  lowest. 

Fundamental'bass  (Ger.)  Fundamen- 
tal bass. .  .F'undamental'ton,  root ;  key- 
note, tonic  {Grund'ton,  To'nika). 

Funebre  (Fr.),  Fu'nebre,  Funera'le 
(It.)     Funereal,  mournful. 

Funf'fach  (Ger.)  See  -fach..  .Fiinf- 
stinimig,  5-part  ;  for  5  parts  or  voices. 
. .  Fiinf'stufige  Ton  leiter ,  pentatonic 
scale. 

Fuo'co  [foo-6'-co]  (It.)  Fire,  spirit ;  con 
f.,  or  fuoco'so,  with  fire,  fiery,  spirited. 

Fu'ria  (It.)  Fury,  passion;  con  f., 
wildly,  passionately. 

Furiant,  Furie.  A  rapid  Bohemian 
dance  with  alternating  rhythms  and 
changing  accentuation. 

Furibon'do  (It.)     Furious,  frenzied. 

Furio'so,-a  (It.)  Furious,  passionate  ; 
furiosanien' te,  passionately  ;  furiosis'- 
sinio,  with  extreme  passion. 


Furla'na  (It.)    See  Forlana. 

Furniture-stop.     A  mixture-stop. 

Furo're  (It.)  A  rage,  mania,  passionate 
fondness  (for  anything)..  .Also,  fury, 
passion,  vehemence  ;  con  f.,  passion- 
ately. 

Fu'sa(Lat.),  Fuse(Fr.)  An  eighth  note, 
or  quaver. 

Fus^e  (Fr.)  An  ornament  consisting  of 
a  rapid  ascending  or  descending  dia/- 
tonic  series  of  notes  ;  a  slide. 

Fusel  (Ger.)     Same  as  F'usa. 

FuselTa  (Lat.)  32nd-note. .  .Fusel'lala, 
64th-note. 

Fuss  (Ger.)  Foot ; -/ww/^,  the  adjective- 
ending  corresponding  to  -foot,  as  S'fiis- 
sig  {acht'fussig),  8-foot. .  .Fuss' klavier, 
pedals  (of  an  organ). .  .Fuss' ton,  equiv- 
alent to  "-foot  pitch",  e.  g.  an  organ- 
pipe  of  4-foot  pitch  is  said  to  be  of  4- 
Fusston. 

Fiit'terung  (Ger.)    Linings  (of  a  violin). 

G. 

G.  The  fifth  tone  and  degree  in  the 
typical  diatonic  scale  of  C-major. . .  G. 
abbr.  {or gauche  {m.g.  =  main  gauche) ; 
G.  O.  (or  simply  G),  grand-orgue. 

Ga'belklavier  (Ger.)  A  keyboard  instr. 
inv.  in  1882  by  Fischer  and  Fritzsch  of 
Leipzig,  in  which  steel  tuning-forks  are 
substituted  for  strings.  The  some- 
what dull  timbre,  due  to  the  lack  of 
harmonics,  has  been  brightened  by 
adding,  for  each  key,  a  second  fork 
tuned  an  octave  higher  than  the  first. . . 
Ga'belton,  "fork-tone,"  i.e.  the  tone  a^ 
pitched  for  tuning. .  .  Ga'belgriffe  (pi.), 
cross-fingerings. — See  Stimmgabel. 

Gagliar'da  (It.),  Gagliar'de  (Ger.)  A 
galliard. 

Gai  (Fr.)  Gay,  lively,  brisk. . .  Gaiement, 
ox gaitne7tt,  gaily,  briskly. 

Gaillarde  (Fr.)    A  galliard. 

Gajamen'te  (It.)  Gaily,  lively.. .  Ga'jo,-a, 

gay- 

Ga'la  (It.)  In  the  phrase  rf'/^a/rt,  gaily, 
merrily. 

Galamment  (Fr.),  Galantemen'te  (It.) 
Gallantly,  gracefully,  prettily. 

Galant'  (Ger.)  Free ;  e.  g.  galan'te 
Fu'ge,  free  fugue  ;  galan'ter  Stil,  ga- 
lan'te  Schreib'art,  free  style,  the  homo- 
phonous  style  of  composition  for  the 
clavichord  or  harpsichord,  in  vogue  in 


GALANT— GEFAHRTE. 


8i 


the  l8th  century  ;  opp.  \.o  gebun'dener 
Stil,  strict  style,  in  which  a  certain 
number  of  contrapuntal  parts  was  ad- 
hered to  throughout. 

Galant,-e  (Fr.),  Galan'te  (It.)  Gallant, 
graceful,  pretty. 

Gal'liard.  (Gar.  Gagliar'de ;  Fr.  gail- 
larde  ;  \t.  gagliar'da.)  An  old  French 
dance  for  2  dancers  (also  called  Honia- 
ne'sca),  of  a  gay  and  spirited  character, 
though  not  rapid,  and  in  3-4  time  ;  like 
the  Pavan,  it  had  3  reprises  of  4,  8,  or 
12  measures.  It  was  the  precursor  of 
the  Minuet. 

Gal'op.  (Fr.  galop,  galopade ;  Ger. 
Galopp'.)  A  very  lively  and  spirited 
round  dance  in  2-4  time  ;  supposed  to 
have  been  derived  from  the  old  German 
Hop'scr  or  Rutsch'cr  (names  descrip- 
tive of  the  step).  Introduced  into 
France  early  in  the  19th  century. 

Galoub6,  Galoubet  (Fr.)  A  kind  of 
small  fife,  the  shrillest  of  all  wind-in- 
str.s,  with  3  holes  and  a  compass  of  17 
notes  ;  found  only  in  Provence. 

GamHia.  i.  See  Viola  da  gamba. — 2. 
An  organ-stop  similar  in  tone  to  the 
viola  da  gamba. 

Gam'be  (Ger.)  Viola  da  gamba. . .  Gam'- 
benstimnie,  a  gamba-stop. .  .  Gajn'hen- 
iverk,  piano-violin. 

Gam'bist.  A  player  on  the  viola  da 
gamba. 

Gam'ma.  The  Greek  G  (P).  In  medie- 
val music  from  the  loth  century  on- 
ward, the  lowest  tone  of  the  mus.  sys- 
tem then  obtaining  was  called  P ;  the 
letter  was  ■  together  with  the  F- 

also  used  ^  clef.     Hence,  its  use 

as  a  clef  ~^  to  name  the  entire 
scale  (see  Gatnme  and  Gamut). . .  Gam- 
ma ttt,  ^^, •      ^i_        1 J         ^  e 

in  the  old  system  of 

;  solmisation. 

Gamme  (Fr.)  A  scale  (see  Gamma)..  . 
G.  diatonique  {chromatique),  diatonic 
(chromatic)  scale. 

Gam'ut  {irom  gamma  ut).  1.  See  Gafn- 
ma. — 2.  A  scale.— 3.  The  staff. — 4.  In 
old  English  church-music,  the  key  of  G. 

Gang  (Ger.)     Passage.     (Plural  Gauge.) 

Ganz  (Ger.)  i.  Whole. ..  6^rt;/s^  Note 
{gan'ze  Taktfnote),  whole  note  (c)... 
Ganz' instrument,  a  metal  wind-instr., 
the  lowest  natural  tone  of  whose  tube 
can  be  made  to  speak  ;  opp.  to  Ha  lb' in- 
strument. . .  Ganz'schluss,     whole     ca- 


dence. . .  Gan/ton,  or  gan'zer  Ton, 
whole  tone. — 2.  Very. 

Gar'bo  (It.)     Grace,  elegance. 

Gas'senhauer  (Ger.)  In  the  i6th  cen- 
tury, a  designation  for  popular  songs  or 
ioVs.-^on^%{Gas'  senhawerliji) ;  the  word 
now  signifies  a  trite  and  threadbare 
tune,  and  at  the  same  time  something 
vulgar  and  unworthy  of  art.  [Riemann.  J 

Gathering-note.  In  chanting,  an  irreg- 
ular y(?;-wa/a  on  the  last  syllable  of  the 
recitation,  to  enable  the  body  of  the 
singers  to  catch  up  and  begin  the  ca- 
dence together. 

Gauche  (Fr.)  Left;  ;«az« ^.  (abbr.  m. 
g.),  left  hand. 

Gaudio'so  (It.)     Joyous,  jubilant. 

Gau'menton  (Ger.)     A  guttural  tone. 

Gavot'.  (Fr.  gavotte  ;  It.  gavot'ta.)  An 
old  French  dance-form  in  strongly 
marked  duple  time_((Ji  alia  breve),  be- 
ginning with  an  auftakt,  of  a  lively 
though  dignified  character,  and  resem- 
bling the  Minuet.  (See  Suite.)  The 
Gavot  has  latterly  been  revived  as  an 
instrumental  piece. 

Gaz'el.  A  piece  with  a  short  and  oft-re- 
curring theme  or  refrain. 

G-clef.  (Ger.  G'-Schliissel ;  Fr.  clef  de 
sol ;   It.  chiave  di  soprano.)     The  sign 

f  determining    the    position    of    the 
note  g^  on  the  staff.     (See  Clef.) 

Gebla'se  (Ger.)  Bellows  (of  an  organ  ; 
usually  Balg). 

Gebroch'en  (Ger.) 

Gebun'den  (Ger.) 

tied ;  as  gebun'dcne  Dissonanz' ,  pre 
pared  dissonance ;  gebun'denes  Spiel, 
legato  playing  ;  gebun'dener  Stil,  strict 
style. — 3.  Having  2  or  more  digitals  to 
one  string  (said  of  clavichords) ;  opp. 
to  un'gebunden  or  bund'frei  (i.  e. 
"fretted"  or  "fret-free"  [Grove]). 
(Comp.  Bundfrei.) 

Gedackf  (Ger.)  Stopped  (of  organ- 
pipes)  ;  opp.  to  offen.  (Also  gedact, 
gedakt.) 

Gedampft'  (Ger.)  Damped  ;  muffled  ; 
muted. 

Gedeckt'  (Ger.,  "covered".)  See  Ge- 
dackt. 

Gedehnt'  (Ger.)     See  Dehnen. 

Gedicht'  (Ger.)     Poem. 

Gefahr'te  (Ger.)  Answer  (in  fugal  com- 
position). 


Broken. 
I.  Tied. — 2.  Legato, 


82 


GEFALLEN— GESCHLEIFT. 


Gefal'len  (Ger.)  Pleasure  ;  nach  C,  a 
piacere. 

Gefal'lig  (Ger.)  Pleasing,  attractive, 
graceful. 

Gefuhl'  (Ger.)  Feeling,  emotion.,  .il/// 
6".,    with    feeling,  expression  (also  ge- 

fiihhwll). 

Ge'gen  (Ger.)  Against,  contrary  to. .  . 
Ge' gcnhc'wcgting ,  contrary  motion. .  . 
Ge'genfuge,  a  fugue  in  which  the  an- 
swer is  an  inversion  of  the  subject. .  . 
Ge'genharmonie,  counter-subject  (in  a 
iugne.)..  .Ge'getisatz,  (a)  contrast;  (/') 
contrasting  movement  or  effect. . .  Gf'- 
genstimine,  contrapuntal  part  ;  counter- 
subject. 

Gegit'tertes  B  (Ger.)     B  cancellatum. 

Gehal'ten  (Ger.)     Held,  sustained. 

Geh'end  (Ger.)     Andante. 

Gei'ge  (Ger.)  WoWn..  .Gei'geiiclavicvm- 
bel,  Gei'gi'nklavier,  bow-piano. .  .  Gei'- 
genharz,  rosin . .  .  Gei' geninstritment , 
bow-instr. .  .  Gei'genpriticipal,  violin- 
diapason  (organ-stop). .  .  GeVgcwwcrk, 
piano-violin. .  .  Geigetizettel,  the  maker's 
"label"  or  "inscription"  on  a  violin 

Geist  (Ger.)      Spirit,  soul  ;    mind,  intel- 
lect ;  genius  ;  essence. 
Gei'sterharfe  (Ger.)     ^olian  harp. 

Geist'lich  (Ger.)  Sacred  ;  opp.  to  iveW- 
lich,  secular. 

Gelas'sen  (Ger.)  Calm,  composed, 
placid  ;  easy.     (Also  adverb.) 

Gelau'fig  (Ger.)  Fluent,  voluble  ;  easy, 
ia.m\\\a.r..  .Gelciu'Jigkc-it,  fluency,  celer- 
ity, velocity  ;  ease,  familiarity. 

Gemach'lich  (Ger.)  Comfortable,  easy, 
commodious,  convenient  ;  slow,  gentle. 
(Also  adverb. )  Recht  gemachlick,  com- 
modetto. 

Gema'ssigt  (Ger.)  Moderate.  (See 
Afds.<;ig.) 

Gemisch'te  Stim'men  (Ger.)  i.  Mixed 
voices. — 2.  In  the  organ,  the  mixtures, 
or  mixture-stops. 

Gems'horn  (Ger.,  "chamois-horn.")  In 
the  organ,  a  metal  flue-stop  having  ta- 
pering pipes  of  8,  4,  or  2-foot  pitch  on 
the  manuals  and  of  i6-foot  pitch  on  the 
pedal,  with  mellow,  horn-like  timbre. 
.  .  Gems' /ior>iqninte,  a  5>^-foot  stop  of 
the  above  type. 

Gemiit'(h)  (Ger.)  Soul,  heart,  spirit  ; 
mind  ;  disposition,  temperament,  na- 
ture. 


Ge'nera.     Plural  of  Genus. 

General'bass  (Ger.)  Thorough-bass; 
General' basssehri ft,  thorough-bass  no- 
tation.. .General pause,  a  pause  for  all 
instr.s  or  parts  in  the  midst  of  a  com- 
position, particularly  when  so  intro- 
duced as  to  produce  a  striking  effect. 
A  hold  ^  over  the  rest  for  such  a 
pause  renders  its  duration  indetermin- 
ate ;  i.  e.  robs  it  of  rhythmic  value,  as 
if  the  beats  or  counts  were  suspended 
for  the  time  being. .  .  General' probe,  full 
rehearsal. 

Generator.  (Fr.  \son'\  g<fn/rateur.)  i. 
A  root,  or  fundamental  tone. — 2.  A 
tone  which  produces  a  series  of  har- 
monics. 

Ge'nere  (It.)  A  mode  or  key  ;  a  genus. 
Genero'so,-a  (It.)  Generous,  free,  ample. 
Genial'  (Ger.)     Relating  to  or  exhibiting 

genius  ;     talented,    gifted,     ingenious, 

clever  ;  spirited. 

Genie  (Fr.),  Genie'  (Ger.)     Genius. 

Genouillifere  (Fr.)  Knee-lever  ;  formerly 
used  in  (ierman  grand  pftes.  as  a  sub- 
stitute for  the  earlier  draw-stops,  before 
the  general  introduction  of  pedals. 

Genre  (Fr.)  Genus,  as  g.  diatonique, 
chromatique,     enharinonique. — A  1  s  o , 

style. 

Gentil,-le  (Fr.)  Genti'le   (It.)      Grace- 
ful, delicate,  pretty. — Gentilinent  (gen- 
tilmen'te),  gracefully,  etc. . .  Gentilez'za, 
r(>«(It.),with  dignity,  refinement, grace. 
Ge'nus  (Lat.)     i.    In   ancient   music,  a 
system  of  arranging  the  notes  of  a  tetra- 
chord  ;    for  diatonic,  chrom.,  enharni. 
genus,    see    Greek   Music,   §2. — 2.     A 
mode  or  octave-scale. 
Gera'de    Bewe'gung    (Ger.)      Similar 
or  parallel  motion. .  .  Gera'de   Takt'art 
{gerader  Takt),  duple  or  quadruple  time. 
German  flute,  the  cross-flute. . .  German 

sixth,  see  Extreme. 
Ges  (Ger.)  Gr,.,  .Ges'es,  Gbb- 
Gesang'  (Ger.)  Singing,  song  ;  a  song, 
vocal  composition  ;  melody,  air. . .  Ge- 
sang'buch,  a  song-book,  hymn-book. . . 
Gesangs' kunst,  the  art  of  singing,  vocal 
art.  .  .Gesang'{s)mdssig,  melodious; 
adapted  for  singing,  for  the  voice. .  . 
Gesang' verein,  singing  society,  choral 
society. 

Geschlecht'  (Ger.)     Genus  ;  mode. 
Geschleift'  (Ger.)     Slurred  ;  legato. 


GESCHMACK— GOATHORN. 


83 


.  Geschmack'- 


Having 


Geschmack'  (Ger.)  Taste, 
■voll^  tasteful(ly). 

Geschwanzt' (Ger.,  "tailed".) 
a  hook  or  hooks  (  [^  jj). 

Geschvvind'  (Ger.)  Swift,  rapid,  quick. 
(Also  adverb.) 

Ges'es  (Ger.)     See  Gcs. 

Gesicht'  (Ger.)  Front  (of  organ). . .  Ge- 
sichts'pfeifen,  front  pipes. 

Gespon'nen  (Ger.  "spun".)  Gesponnene 
Saile,  "  covered  "  string. .  .  Gesponnener 
Ton,  "son  file"  (see  Filar),  an  even, 
sustained  tone  (voice  or  violin). 

Gestei'gert(Ger.)  Intensified;  rinforzato. 

Gestrich'en  (Ger.)  i.  Having  hooks. 
— 2.  In  compound  words,  equivalent  to 
-lined,  -accented,  as  ein'gestrichene  Ok- 
ta've,  one-lined  (once-accented)  octave. 
-3.     Crossed, p  p  or  5^^ — 4.  Cut 

:(as  a  scene  in 
"an  opera). 


with  a  stroke  or; 
line  across,  as 


Get(h)eilt'  (Ger.)  Divided,  separated..  . 
Geteil'te  Violi'nen,  violini  divisi. .  .  Ct'- 
teil'te  Sti/n'men,  partial  stops  (organ). 

Get.ra'gen  (Ger.)  Sostenuto.  See  Trat^en. 

Geworfener  Strich  (Ger.)  "  Thrown 
stroke  "  ;  in  violin-technics,  a  form  of 
the  saltato. 

Ghaz'al,  Ghaz'el  (Arabic.)     See  Gazel. 

Ghiribiz'zo  (It.)  Whim,  fancy,  caprice. 
.  .  Ghiribizzo'so,  whimsical,  etc. 

Gi'ga  (It.)    See  Gigtie. 

Gigeli'ra  (It.)     Xylophone. 

Gigue  (Fr.)  I.  Early  name  for  the  old 
form  of  viol,  which  nearly  resembled  that 
of  a  ham  {gigue) ;  hence  German  Geige. — 
2.   Ordinary  title  in  the  Suite  for  the  Jig. 

Gioche'vole  (It.)     Playfully,  merrily. 

Giocon'do,-a  (It.)  Jocund,  gay,  playful. 
.  .  Giocondamen'te,  joyously,  merrily. 

Gioco'so,-a  (It.)  Playful,  sportive,  ban- 
tering; humorous.  .  .  Giocosa>nen'ie,Y)\a.y- 
fully,  etc. 

Gio'ja    (It.)      Joy,   delight,    pleasure... 

Giojan'te,    joyfully,    mirthfully. ..  C/('- 
jo'so,-a,  joyful,  mirthful. .  .  Giojosamen'- 

te,  joyfully,  etc. 
Giovia'le  (It.)     Jovial,  cheerful. 
Giraffe.    An  old-style  upright  grand  pfte. 
Gi'ro  (It.)     A  turn. 
Gis  (Ger.)     GJf. . .  C///j,  Gx. 
Giubili'o  (It.,  also  giu'hilo,  giubilazio'- 

ne.)     Joy,  rejoicing,  jubilation. ..  C/w- 

bilo'so,-a,  jubilant. 


Giuocan'te  (It.)  Playful,  bantering. 
. .  Giiioche'vole,  playfully,  etc. 

Giu'sto,-a  (It.)  Appropriate,  strict, 
moderate  (as  tempo  gins  to),  exact,  pre- 
cise, correct.  .  .Al/egro  gitisto  {all." 
7nod^_o),  moderately  fast. .  .  Giustamen'te, 
correctly,  exactly. . .  Giustez' za^con ,\i'\\.h 
precision. 

Glas'harmonika  (Ger.)     P/arnumica  i. 

Glee.  A  secular  composition  for  3  or 
more  unaccompanied  solo  voices,  of 
later  origin  and  less  contrapuntal  inge- 
nuity than  the  Madrigal,  and  peculiar 
to  England.  It  is  of  modern  character 
both  with  regard  to  tonality  knd  to  its 
employment  of  harmonic  masses  and 
the  perfect  cadence.  The  name  glee  is 
not  properly  descriptive  of  its  nature, 
as  serious  glees  are  written  as  weJ  as 
merry  ones. 

Gleich  (Ger.)  Equal. . .  Glei'cher  Kon'- 
trapunkt,  equal  counterpoint.. .  Glei'che 
Stimmen,  equal  \o\c&s. ..  Gleich' schive- 
bende  Temperatur' ,  equal  temperament. 

Gli  (It.)     The  (masc.  pi.). 

Glicibarifo'na  (It.)  A  wind-instr.  inv. 
in  Italy  about  1827  by  Catterini ;  a 
small  4-octave  expressive  organ. 

Glide.  The  smooth  connection  of  2  tones 
by  slurring. 

Glissan'do  (also  glissa'to,  glissican'do, 
glissica' to  ;  spurious  It.  forms  imitated 
from  the  Fr.  glisser.)  i.  On  bowed 
instr.s,  {a)  calls  for  a  flowing,  unac- 
cented, execution  of  a  passage  ;  {b) 
same  as  Portamento. — -2.  On  the  pfte., 
a  rapid  scale-effect  obtained  by  sliding 
the  thumb,  or  thumb  and  one  finger, 
over  the  white  keys,  producing  either 
the  simple  scale,  or  thirds,  sixths,  etc. 
(easier  and  more  effective  on  the  Janko 
keyboard). 

Glisse  (Fr.)  r.  GUssando  2. — 2.  A  di- 
rection indicating  that  a  passage  is  to 
be  executed  smoothly  and  flowingly. 

Glock'e  (Ger. ;  dimin.  Glock'chen.)  Bell. 
.  .  Glockenist' ,  same  as  Carillonneiir. .  . 
Clock' enspiel,  {a)  a  carillon  ;  {b)  an 
instr.  consisting  of  bells  or  (more  re- 
cently) of  steel  bars,  tuned  diatonically 
and  struck  with  a  small  hammer  ;  oc- 
casionally used  in  the  orchestra  ;  {c)  an 
organ-stop  which  causes  a  set  of  small 
bells  to  be  sounded  by  the  manual. 

Glo'ria.     See  Doxology,  Mass. 

Gnac'care   (It.)     Same  as  Castagnette. 
.Goathorn.     See  Gemshom. 


84 


GONDELLIED— GRACE. 


Gon'dellied  (Ger.)     Gondoliera. 

Gondolie'ra  (It.)  See  Barcarole. 

Gong.  (  7'(7;«-/«w  in  Fr.  and  Ger.  use.) 
An  instr.  of  percussion  in  the  form  of 
a  large  round  slightly  concave  plate  or 
basin  of  metal  (alloy  of  4  parts  copper  to 
I  part  tin),  with  a  raised  rim.  It  is  struck 
with  a  stick  having  a  padded  leather 
head,  and  is  used  in  the  orchestrate  in- 
tensify melodramatic  effects. 

Goose.  (Fr.  couac.)  A  harsh  break  in 
the  tone  of  the  clarinet,  oboe,  or  bas- 
soon, caused  by  a  defective  reed  or  im- 
proper manipulation. 

Gorgheggia're  (It.)  To  execute  florid 
vocal  music ;  also  see  Fredotiner. . . 
Gorgheggiatnen' to,  art  of  singing  florid 
passages,  etc. . .  Gorgheg'gio,  a  florid 
passage. 

Gospel  side.     See  Epistle  side. 

Gout  (Fr.)     Taste. 

Grace.  (Ger.  Verzie'rung ;  Fr.  ortie- 
ment,  agr^ment ;  It.  abbe  Hi  men' to,  Jio- 


rct'to.)  A  vocal  or  instrumental  orna- 
ment or  embellishment  not  essential  to 
the  melody  or  harmony  of  a  composi- 
tion. (The  long  appoggiatura  is  an  ex- 
ception ;  it  was  formerly  written  as  a 
small  note — grace-note— because  care- 
ful composers  could  thus  nominally 
evade  the  rule  prohibiting  the  entrance 
of  unprepared  dissonances.).  ..Crar^- 
i!olt\  a  note  of  embellishment,  usually 
distinguished  by  its  smaller  comparative 
size. 

The  gmces  for  harpsichord,  clavichord, 
pianoforte  and  voice,  enumerated  below  in 
alphabetical  order,  are  given  according  to  the 
following  authorities  : — J.  H.  d'Anglebert,  i68g 
(d'A.)  ;  J.  S.  Bach,  1720  (B.)  ;  C.  Ph.  E.  Bach, 
1787  (Em.  B.)  ;  Dr.  John  Blow,  i7oo(Bl.)  ;  Dr. 
I'homas  Busby,  1786  (I'.u.);  Francois  Couperin, 
1713  (C.) ;  J.  W.  Callcott,  1817  (Ca.)  ;  Etienne 
Loulitf,  1696  (L.) ;  N.  de  S.  Lambert,  1697  (La.); 
F.  \V.  Marpurg,  1762  (M.)  ;  P.  J.  Milchnieyer, 
1797  (Mi,);  J.  S.  Petri,  1782  (P.);  Fr.  Pollini, 
1711  (Po.)  ;  J.  P.  Rameau,  1737  (R.)  ;  Christ- 
opher Simpson,  1659(8.);  G.  F.  Wolf,  1783-89 
(W.)  ;  and  J.  G.  Walther,  1732  (Wa.). 

In  every  case,  the  special  article  in  the  body 
of  the  book  should  also  be  consulted,  the  pri- 
mary intention  of  this  article  being  to  give  a 
list  oy signs  for  ready  reference. 


Acciaccatura. 
(Bl.) 


Anschlag, 


(d'A.) 


Appoggiatura. 
(C.) 


(C.) 


Arpege. 


Arpegement     en  descen- 
en  montant.         dant. 


Arpegement  simple. 
(La.)  I 


1  ,     (R-)  L  sj  I  I 


^±^ 


figure. 


Arpeggio. 


c^  \ 


Double  Backfall.  Shaked  Backfall. 

(Wa.)  0       (Bu.)     ^v  X 


Back  Turn. 


Balancement. 


Beat. 


GRACE. 


85 


n 


(S.) 


^    ♦>» 


-.■S^iiX^i^mi^MZ^:^. 


P^^ 


Shaked  Beat. 
(-W*.        (d'A.) 


Bebung. 
(/wv       (d'A.) 


Beisser.  Brechung. 

^        (B.) 


Chute. 
(d'A.)  (d'A.) 

■       I 


(CA-) 


Chute  et  Pince.  Chute. 

_^        (d'A.) 


Tierce  coulee.     Coule. 


Doppel-      Geschnellter  Doppelschlag.     Prallender 
schlag.  Doppelschlag. 


^        (d'A.) 


Umgekehrter     Doppelvorschlag.       Double. 
Doppelschlag. 


# 


^ 


(S.)  + 


(s.)     ^ 


^^!^ 


z?z: 


«— si- 


i 


D.  sur  une  tierce. 


Double. 


Elevation. 


Shaked 
Elevation. 


86 


GRACE. 


Gruppetto. 


Liaison. 


(Lo.) 


JMartellement       M.  double 
simple. 

(M.) 


M.  triple, 


Mordant. 


(M.) 


(M.) 


Springender       Nachschlag. 


aV' 


(C.) 


^   (C.) 


-t ^ 

Nachschlag  Nachschlag. 

(modern). 

4^  (M.)         or 


W.  (C.) 


"•  'lj    I    I  il—i    I 


-•^•«- 


Pince. 
^^         (C.) 


^^^r' 


(C.)  B 


(C.)i; 


Pince  simple. 

■ ^ 


Pince  double. 


Pince  continu. 
(R.) 


Pince  diese. 


(R.) 


Pinces  b^jnolises. 


(R.) 


-v-l     I     i     i     I     1      I 


:(?=)= 


=)=^ 


^ 1 h>a^ — i •■ 


Pince 


^ 


f^  ;    -I       .     -1      >. 

Pince     Pince     Plain-beat, 
double,   etouffe. 


Pince  et  Port  de  voix. 
(Lo.) 


-I fi 


Pince  lie. 

(Lo.) 


Port  de  voix. 


(Lo.)  or        or 


(R.) 


(C.)   ^y. 


(C.)  > 


-t 'u^   ' ^T — ' — ^ --1 ""^^g- 

Port  de  V.  simple.         Port  de  voix  double. 

r 


f'-^^^^^-^^'^  III    :  r  r  u  r  II  p~ri^^.  f^ 


4—11       U 
Single  Relish' 


Port  de  voix. 


Pralltriller. 


GRACIEUX— GRAZIA. 


8> 


f^^^^^^H^l^i^E^a^^ 


Double  Relish. 


Schleifer, 


[Coule.]        [Slide.] 
(S.) .     ^__  _(Bu^ 


Springer. 
(d'A.)  (d'A.)  (M.) 


Passing  bhake. 


A/V         A/VV 


Son 
coupe. 

tr^  (C.) 


Suspen-        Trem-  Tremblem.  appuye.     Tremblement. 
sion.         blement. 


Tremblem.  contuiu 


Turn. 


Doppeltriller  mit  Nachschlag. 
jg    g  (Bl.)  \5  (Bl.) 

—  E 


IMit  Yor-  und  Nachschlag.  Trill  without 
after-beat. 


Gracieux,  Gracieuse  (Fr.)     (Graceful. 

Gra'cile  (It.)  Graceful  and  delicate  ; 
thin,  slender  {vo'ce  gracile). 

Grad  (Ger.)     Degree. 

Gradation.  An  ascending  or  descend- 
ing series  of  diatonic  chords. 

Grade'vole(It.)  Pleasing,  agreeable. . . 
Gradevolmen' te^  pleasingly. 

Gra'do  (It.)  Degree,  step. . .  Gr.  ascen- 
den' te,  ascending  step...  6^r.  descenden'te, 
descending  step. .  .Digrado,  by  a  step, 
stepwise  ;  opp.  to  disallo,  by  a  skip. 

Gradual,  (hat.  gradua'/c'.)  i.  An  anti- 
phon  following  the  epistle  ;  so  called 
because  sung  on  the  step(gradus)  of  the 
ambo  or  pulpit. — 2.  A  cantatiu-iuin 
(book  of  chants)  containing  the  grad- 
uals,  introits,  and  other  antiphons  of 
the  R.  C.  Mass. 

Graduellement  (Fr.)     Gradually. 

Grammatical  accent.     See  Accent. 

Gran  cas'sa  (It.)  See  Cassa. .  .Gran 
gii'sto,  epithet  applied  to  an  eccentric  or 
highly  effective  composition. 

Grand.  Technical  term  for  Grand  Piano- 
forte (see  Pianoforte^ .  .  .Grand  action, 
an  action  such  as  is  used  in  grand  pftes. 
. .  Grand  barr^,  see  Barre. 

Grand  (Fr.)  Large,  great. . .  Gr.  barr^, 
see  Barrd. . .  Gr.  bourdon,  double-bour- 
don. • .  Gr.  chceur,  full-organ. . .  Gr.jcu, 


Trill  with 
appogg*. 

{a)  full  organ  ;  (/')  an  harmonium-stop 
which  brings  into  action  the  full  power 
of  the  instr. ..yi  grand  orchesire,  for 
full  orchestra. .  .  Grand-orgiie,  {a)  full 
organ  ;  (/')  great  organ;  (c)  pipe-organ. 

Grandeur  (Fr.)     Width  (of  intervals). 

Grandez'za  (It.)  Grandeur,  majesty, 
dignity. 

Grandio'so  (It.)  Grand,  pompous,  ma- 
jestic. 

Grandisonan'te  (It.)  Loud  or  long- 
sounding,  re-echoing  ;  sonorous. 

Granulato  (It.,  "granulated.")  Non 
legato. 

Grap'pa  (It.)     Brace. 

Grasseyement    (Fr.)      A   guttural   and 

vicious  pronunciation  of  the  ;-  and  /  in 

swgmg. .  .Grasseyer,  to  pronounce    as 

above. 
Gratio'so  (It.)     Same  as  Grazioso. 
Gra've  (Fr.  and  It.)     i.  Grave  or  low  in 

pitch. — 2.   Heavy,   slow,   ponderous  in 

movement       (see       Tempo-iiuirks). — 3. 

Grave  or  serious  in  expression. 
Gravement    (Fr.),    Gravemen'te    (It.) 

Slowly,  heavily,  ponderously; seriously, 
Gravicem'balo     (It.)      A    harpsichord. 

(Also  Gravecembalo.) 
Grav'is  (Lat.)     Heavy,  ponderous  ;  see 

Accentus  eccl. 
Gra'zia  (It.)     Grace,  elegance;  con  gr.. 


88 


GRAZlOS— GREEK   MUSIC. 


gracefully,  etc.  .  .  Grazio'so,-a,  graceful, 
elegant. .  .Graziosamen'te,     gracefully. 

Grazios'  (Ger.)     Graceful(ly). 

Great  octave.  See  Pitch,  absolute. . . 
Great  organ,  see  Organ. 

Greater.     Major. 

Grec  (Fr.)  Greek. .  .A  chorus  a  la  grec 
is  one  introduced  at  an  act-close,  in 
imitation  of  the  ancient  Greek  tragedy. 

Greek  music.  Without  attempting  to 
explain  the  theoretical  and  mathemat- 
ical subtleties  of  the  system,  a  brief 
statement  of  some  leading  features  will 
be  given  below. 

§1.  The  Modes,  or  Octave-scales. 
The  typical  Greek  scale  was  precisely 

I.  Dorian. 

^—d  ^—c^-^b—a—g—f^e  d  ^—c^^b—a—g—f-^e- 


4.  Hypodorian  or  i'Eolian. 

a—g—f^e—d—c^B—A 
7.  Hyperdorian  or  Mixolydian, 

b—a—g—f-^e—d—c^B 
(The  signs  —  and  —' 


5.  Hypophrygian  or  Ionian 


the  reverse  of  our  modern  ascending 
major  scale,  being  conceived  as  a  de- 
scending minor  scale.  Harmony  in  the 
modern  sense  was  unknown  ;  the  aim 
of  Greek  theory  in  treating  of  harmonic 
intervals  was,  therefore,  to  establish  the 
melodic  succession  of  the  tones,  and 
the  Greeks  conceived  the  scale  as  con- 
stituted of  a  series  of  tetrachords{<\-iont 
groups  with  the  compass  of  a  perfect 
fourth). 

The  primitive  Greek  modes  were  sim- 
ple octave-scales  ;  the  three  most  ancient 
forms  were  (i)  the  Dorian,  (2)  the 
Phrygian,  and  (3)  the  Lydian,  to  each 
of  which  were  later  added  2  attendant 
modes,  making  9  in  all : 

3.  Lydian. 
^b—a  —g—f-^e—d—c 

6.   Hypolydian. 


t 

_^i_/- 1  ^e^-d^-c^^b  -a-g 
8.  Hyperphrygian  or  Locrian. 

f, • V ' > 

a^-g^-P^e^-  d^-c^^b-a     g^-/^^e^-d  ^-c^^b-a-g 
indicate  the  step  of  a  whole  tone  and  semitone  respectively.) 


p^e'-d  ^-c^^b-a-g-f 
9.  Hyperlydian. 


The  prefix  hypo  signifies  "  a  fifth  be- 
low ";  hyper,  "  a  fifth  above".  (Compare 
Mode.)  The  character  and  name  of 
each  mode  depended  {a)  upon  the  form 
of  the  tetrachord,  and  (/')  upon  the 
position  of  the  diazeuctic  tone.  While 
each  of  the  3  primitive  modes  is  com- 
posed of  2  tetrachords  of  like  name  and 
form,  which  are  ^//-r/VuV/di/ (separated)  by 
the  diazeuctic  tone  (marked  f  ;  from  dia- 
zeuxis,3.  separation), each  of  its  2  attend- 

Major  Mode. 

-+- 


ant  modes  is  composed  of  2  similar  con~ 
joined  tetrachords,  united  by  one  com- 
mon tone,  and  preceded  or  followed  by 
the  diazeuxis.  The  character  of  the  te- 
trachord depends  on  the  position  of  the 
semitone  ;  e.  g.  in  the  Dorian  tetra- 
chord, found  in  the  Dorian  and  attend- 
ant modes,  the  semitone  occurs  between 
the  third  and  fourth  tones.  This  Do- 
rian mode  is  an  exact  inversion  of  the 
modern  major  mode : 

Dorian  Mode. 


§2.  The  Perfect  System  is  based  on 
the  Dorian  tetrachord  ;  it  comprises  the 


following  two  octaves,  in  which  the  Do- 
rian mode  occupies  the  central  portion: 


Dorian  Mode. 


GREEK  MUSIC. 


89 


This  system  is  formed  by  adding,  at 
either  extreme  of  the  Dorian  scale,  a 
conjoined  tetrachord,  and  completing 
the  2-octave  system  by  the  addition  of 
A  (hence  called  Proslamhanomenos, 
"the  acquired  tone")  in  the  lower 
octave,  thus  forming  a  complete  a- 
minor  descending  scale.  The  2  central 
tetrachords  were  therefore  disjoined  ; 
but,  for  modulations  to  the  lower  quint 


(which  to  the  Greeks  was  the  most 
natural  transition,  just  as  that  to  the 
key  of  the  higher  quint  is  to  us),  they 
used  the  semitone  above  the  highest 
tone  of  the  middle  tetrachord,  and  con- 
sequently distinguished  a  special  "  con- 
joined tetrachord  "  (tetrachordon  synem- 
menon)  J^-e^-^^a,  in  opposition  to  the 
"disjoined  tetrachord"  {tetr.  diezeug- 
7}ienon)  d^—c^^b-a. 


Full  Names  of  all  Degrees  in  the  Perfect  System. 


Nete  hyperboleon 
Paranete  hyperb. 
Trite  hyperboleon 
Nete  diezeugmenon 

(highest  of  the  disjoined) 
Paranete  diezeugmenon 

(next-highest  of  the  disjoined) 

Trite  diezeugmenon 

(third  of  the  disjoined) 
Paramese 
(the  [tone]  next  the  middle) 


(highest  of  the  high) 
(next-highest  of  the  high) 
(third  of  the  high) 


d'  d' 


b   b-> 


Mese 
(middle  tone) 

Lichanos  meson 

Parhypate     ' ' 

Hypate         " 

Lichanos  hypaton 

Parhypate      " 

Hypate  " 

Proslamhanomenos 
The  theorists  attributed  special  impor- 
tance to  the  middle  tone  Mese,  as  the 
tonic  of  the  perfect  system.  This  sys- 
tem also  forms  the  foundation  of  me- 
dieval mus.  theory  ;  even  the  compass 
given  above  was  not  overstepped  till  the 
introduction  of  the  F  (gamma).  Gre- 
gorian music  keeps  within  these  limits, 
and  the  notation  in  Latin  letters  retains 
this  same  diatonic  scale  even  to  the 
chromatic  alteration  of  Paramese  to 
Trite  syne??imenon.  This  perfect  sys- 
tem {systema  teleion)  was  also  styled  the 
systema  metabolon,  the  "  mutable  (i.  e. 
modulatory)  system,"  with  reference  to 
the  modulation  to  the  subdominant 
made  possible  by  employing  the  con- 
joined tetrachord ;  without  this  tetra- 
chord it  was  called  the  systema  ameta- 
bolon  (immutable).  [This  diatonic (Xvi\- 
sion  of  the  tetrachord  into  2  whole  tones 
and  a  semitone  (as  a — ;"■ — •/— f),  of  which 
the  Dorian  tetrachord  is  the  normal 
type,  was  the  distinctive  feature  of  the 
diatonic  genus  (j^t';;«^= melodic  arrange- 
ment of  the  tones  within  the  tetrachord); 
the  earlier  enharmonic  genus  was 
formed  by  omitting  the  paranete  or  the 
lichanos  (as  a f-^e),  and  the  later 


Nete  synemmenon 
(highest  of  the  conjoined) 
Paranete  synemmenon 
(next  highest  of  the  conjoined) 
Trite  synemmenon 

(third  of  tlie  conjoined) 


Mese 
(forefinger-tone  of  the  middle) 


f(forefinge: 
(next-lowest  of  the  middle) 

e   (lowest  of  the  middle) 

d  (forefinger-tone  of  the  low) 

C  (next-lowest  of  the  low) 

B  (lowest  of  the  low) 

A  (acquired  tone)  [in  no  tetrachord] 

enharmonic  genus  by  dividing  the 
trite  or  the  parhypate  into  2  tones 
(as  a e'iff^e);  while  the  chro- 
matic genus,  also  omitting  the  dia- 
tonic second  degree,  was  expressed 
by  sharping  either  trite  or  parhypate 
(as  a—^f'i,^f^e)\  etc.] 

§3.  Transposing  Scales.  While 
the  perfect  system  remained  the  standard 
in  theory,  the  progress  of  Grecian  musical 
art  widened  its  application  in  practice 
until  all  flat  and  sharp  semitones  were 
employed,  and  its  range  likewise  ex- 
tended. The  chromatic  alterations  were 
expressed  in  the  Greek  alphabetical 
notation  by  different  letters  and  differ- 
ent positions  of  the  same  letter,  which 
were  equivalent  in  effect  to  our  JJand  \). 
E.  g.,  on  substituting  in  the  octave-scale 
d^ — (/  the  conjoined  for  the  disjoined 
tetrachord  (i.  e.  dry  for  b),  this  octave- 
scale  is  no  longer  the  Phrj'gian,  but 
becomes  the  Hypodorian,  for  the  dis- 
tinction between  the  modes  depends  on 
the  position  of  the  semitonic  step ; 
moreover,  as  the  Hypodorian  octave- 
scale  is  to  be  considered  as  that  extend- 
ing from  the  Dorian  mese  to  proslam- 
hanomenos,   this    octave-scale    </'  —  d 


go 


GREGORIAN  CHANT— GROUP. 


with  b^  belongs  to  a  transposed  Dorian 
mode,  having  not  A,  but  d,  iox  pros- 
lainbanomenos.  CJreek  music  was  not 
tied,  like  the  Gregorian,  to  the  diatonic 
scale  A — <;'  without  chromatics,  but  em- 
ployed transpositions  of  the  perfect 
2-octave  system  parallel  to  our  12  or 
more  sharp  and  flat  keys  ;  finally,  these 
transpositions  numbered  15  in  all,  those 
first  in  vogue  bearing  the  same  names 
as  the  first  7  octave-scales.  In  the 
Greek  method  of  alphabetical  notation, 
the  natural  scale  (without  chromatics) 
was  the  Hypolydian : 

J^  ^ e^  —  d"^  —c^  -^ b  —  a—g— f 
consequently,  the  2-octave  system  --/ — rt' 
without  chromatics  is  called  the  Hypo- 
lydian (bein^j  the  naliual  scale  among 
the  transposing  scales,  as  is  C-major 
among  the  sharp  and  flat  keys),  and  the 
transposing  scales  are  named  according 
to  the  mode  represented  by  the  various 
chromatic  alterations  of  the  octave-scale 
y — f.     r"or  instance, 

being  a  Lydian  octave,  the  2-octave 
system  (or  transposing  scale)  d — d'- 
with  one  flat  is  called  the  Lydian  trans- 
posing scale.  It  follows,  that  the  octave 
y '— /  belongs 
without  -^^  or  p  to  the  system  A — «' 

(Hypolydian) 
with  I  J7  to  the  system  d — d- 

( Lydian) 

"     2t,    ' G-g^ 

(Hypophrygian) 
"     3  [>    "    "  "        c — c- 

( Phrygian) 

*'     4[7   ' F-f 

(Hypodorian) 
"      5  b    "    "  "        bo—b''^ 

(Dorian) 
-     6  b   "    \'  ';        ^-e'\> 

(Mixolydian,  or  Ilyperdorian) 
On  the  other  hand,  all  the  sharp  scales 
(of  later  origin)  show  new  names  ;  the 
octave  y':;^ — -y'+t  belongs 
withi;*  to  the  system  e — c-'-  (Hyperiastian) 
(high  Mixolydian) 
I.  2-  "    "        "     ^_^i(lastian) 

(high  Dorian) 
"   y^  '•    "        "  yiS— /'it(ilypoiastian) 
(high  Hypodorian) 
"  4^  "    "        "     ri+— ^-it_(.-Eolian) 

(high  Phrygian) 

"  SS"   "        "   C;;*— ^':J(Hypoasolian) 

(high  Hypophrygian) 

'  6+f  "   "        "  </^— ^'S(Hyperdorian) 
(high  Lydian) 


The  system  d% — ^'iJ,  with  6  sharps,  is 
enharmonically  identical  with  i\) — e'^\) 
with  6  flats;  both  are  named  Hyper- 
dorian  ;  here  closes  the  circle  of  fifths. 
— The  names  of  the  sharp  scales  re- 
cmerge  as  those  of  church-modes  (the 
number  of  which  was  increased  to  12 
in  the  l6th  century)  ;  namely,  the 
Ionian  (=  lastian),  and  Hypoionian, 
/Eolian,  and  Hypoxolian. 

Gregorian  chant.  The  forms  of  mus. 
worship  as  revised  and  established  by 
Pope  (jregory  I.  (the  Great,  d.  604)  for 
the  R.  C.  Church,  and  known  collect- 
ively under  the  name  of  Plain  Chant. 
There  was  probably  no  essential  differ- 
ence between  the  Gregorian  and  Am- 
brosian  styles ;  St.  Gregory's  chief 
work  was  the  careful  revision  of  the 
ritual  music  employed  at  his  time,  the 
rejection  of  redundances  and  abuses, 
and  the  final  establishment  of  the  ma- 
terial thus  sifted  and  arranged  as  the 
norm  for  all  Western  Churches.  He  was 
also  presumably  the  arranger,  if  not  the 
originator,  of  the  4  Plagal  modes  par- 
allel to  the  4  Authentic  modes  of  St. 
Ambrose.     (See  Mode.) 

Grei'fen  (Ger.)  To  stop  (on  the  violin); 
to  take  or  play  (on  other  instr.s);  to 
finger  ;  to  stretch  {er  kann  eine  De'- 
zinie  greifen,  he  can  stretch  a  tenth). 

Griff  (Ger.)  Stop  (on  violin);  touch, 
stroke,  stretch  {wfiicr  Griff);  finger- 
ing . .  .  Griff' brctt,  fingerboard .  .  .  Griff'. 
saitc\  a  string  stopped  by  the  fingers  ; 
a  melody-string. 

Grob  (Ger.,  "coarse.")  Used  as  a  suf- 
fix, it  means  ' '  of  broad  scale"  (said  of 
organ-pipes,  as  Grobgcdackt). 

Groove.  (Ger.  Kanzel'lc.)  One  of  the 
separate  divisions  of  the  windchest  of 
an  organ,  serving  to  conduct  the  wind 
to  the  pipes. 

Groppet'to  (It.)     See  Gruppetlo. 

Grop'po  (It.)     See  Griippo. 

Gross  (Ger.)  Great,  large,  grand  ;  ma- 
jor {as  gro'sse  Terz,  major  Third)... 
Gro'sse  Okta've,  great  octave. 

Grosse-caisse  (Fr.)     See  Caisse. 

Gros'so  (It.)    Large,  great  ;  full,  heavy. 

Gros-tambour  (!'>.)     Bass  drum. 

Grotte'sco  (It.)  Grotesque,  comic,  hu- 
morous. 

Ground  bass.     See  Bass. 

Group.  I.  A  short  series  of  rapid  notes  ; 
specifically,  such  a  series  sung  to  one 


GROUPE— HACKBRETT. 


91 


syllable  ;  a  division  or  run. — 2.  A  sec- 
tion of  the  orchestra,  or  of  an  orches- 
tral score,  embracing  instr.s  of  one 
class,  e.  g.  the  strings. 

Groupe  (Fr.)  I.  Group  ;  specifically,  a 
group  of  notes  with  their  hooks  slurred 
together  ;  a  turn. — 2.  A  unison  2. 

Grund  (Ger.)  Ground,  foundation,  funda- 
ment. .  .Grtind'akkord,  a  chord  in  the 
fundamental  position .  . .  Grtind'bass, 
fundamental  bass.  .  .  Grund'lage,  fun- 
damental position  (of  a  chord)... 
Gruitd' stiinnie,  {li)  see  G7'nndbass;  (/') 
a  bass  part ;  {c)  foundation-stop  (organ). 
. .  Grund' ion,  (a)  root ;  (i^)  key-note . 
. .  Grund' tonart,  ruling  or  principal  key 
in  a  composition. 

Gruppet'to  (It.)  Formerly,  a  trill  or 
relish  ;  in  modern  music,  a  turn. —  Also, 
a  collective  term  applied  loosely  to  vari- 
ous "groups"  of  grace-notes,  such  as: 


?Srf-: 


:1*S= 


l£^ 


m 


i^-£S: 


Grup'po  (It.)  Group  ;  also,  a  turn. — 
Formerly,  a  grace  similar  to  the  trill. 
(See  Trillo.) 

G'-Schlussel  (Ger.)     (7-clef. 

Guara'cha  (Span.)  A  lively  Spanish 
dance,  one  part  of  which  is  in  3-4  or 
3-8  time  and  the  other  in  2-4  time  ; 
usually  accompanied  on  the  guitar  by 
the  dancer  himself. 

Gue.  An  instr.  of  the  violin  kind,  hav- 
ing only  2  strings  (of  horsehair),  and 
played  like  a  'cello  ;  formerly  used  in 
Shetland.     [Century  Dict.] 

Guerrie'ro  (It.)     Martial,  warlil-.e. 

Gui'da  (It.)  I.  Subject  (of  a  fugue); 
antecedent  (in  a  canon  or  other  imita- 
tion).— 2.  A  direct. — 3.  See  Presa.—^. 
In  solfeggio,  a  tone  or  tones  through 
which  the  voice  glides  from  one  inter- 
val-tone to  the  other. 

Guide.  I.  Guida  i  and  2. — 2.  (Fr.) 
Gtiida  I  and  4. . .  Guide-main,  "  hand- 
guide,"  chiroplast. 

Guidon  (Fr.)     A  direct. 

Guido'nian  hand.  The  Guidonian  Hand 
was  a  diagram,  for  memorizing  the  sol- 
misation-syllables  of  the  20-tone  dia- 
tonic scale  (r  to  tv),  in  the  shape  of  an 
outstretched  left  hand  with  the  sylla- 
bles written  in  regular  order  on  the  suc- 
cessive finger-tips  and  joints.  The  sylla- 
bles were  called  the  Aretiniatt  or  Gtii- 
donian  syllables,    (See  Solmisation.) 


Guimbard.  (Fr.  guimbarde.)  A  jew's- 
harp. 

Guitar',  (Span,  guitar'ra;  Ger.  Gui- 
tar' re;  Fr.  guitare;  It.  chitar'ra^  An 
instr.  of  the  lute  family.  The  modern 
("  Spanish")  guitar  has  six  strings,  the 
3  highest  of  gut,  the  3  lowest  of  silk 
covered  with  fine  silver  wire,  tuned  E- 
A-d-s-b-e^:  -P- 


I^E 


i=W): 


i(p)=e 


:($»)= 


{ox  E-B-e-g'^-b-e'^);  but  guitar-music  is 
written  an  octave  higher,  in  the  6'-clef. 
The  pitch  of  all  6  strings  can  be  raised 
a  semitone  by  using  the  capotasto. 
Compass  — -  n^     (with      the 

3  octaves  ^"  l>-(?^^  harmonics, 
and  a  fourth:        -d-   ^j  an      octave 

more).  The  long  fingerboard  is  fur- 
nished with  frets  on  which  the  strings 
are  stopped  with  the  left  hand,  while  the 
right  plucks  the  strings  with  the  finger- 
tips (the  thumb  taking  the  3  lowest,  the 
forefinger  g,  the  middle  finger  b,  and 
the  ring-finger  high  ^),  or  strikes  them 
with  the  back  of  the  fingers  ;  the 
thumb  also  sweeps  the  strings  with  the 
arpeggio-effect  called  the  rasgado. — 
The  body  of  the  guitar  has  a  broad 
waist,  no  corners,  and  a  flat  face  and 
back.  It  is  used  as  a  solo  instr.,  and 
in  accompanying  songs. 

Guitare  d'amour(Fr.),  Guitar-violon- 
cello.    See  Arpeggione. 

Guiterne  (Fr.)  Former  name  for  the 
guitar. 

Gu'sto  (It.)  Taste. .  .Di  buong.,  in  good 
taste,  tasteful. . .  Gusto'so,  with  taste. . . 
Gran  gusto,  see  Gran. 

Gut.  Gut  strings  (in  the  singular  Ger. 
Dartn'saite;  Fr.  corde  a  or  de  or  en 
boyau;  It.  jninu'gia),  popularly  known 
as  catgut,  are  ordinarily  manufactured 
from  the  entrails  of  sheep,  those  of 
young  lambs  yielding  the  evenest  and 
finest  strings  because  they  do  not  have 
to  be  split.  The  best  are  the  genuine 
Roman  strings. 

Gut  (Ger.)  Good. .  .Gti'ter  Takt'teil, 
strong  beat. 


H. 

H  (Ger.)  The  note  B . .  .In  scores,  H '\i 
an  abbr.  for  Horn;  in  organ-music,  for 
Heel ;  in  music  for  keyboard  instr.s, 
ior  Hand{r.  h.,  I.  //.) 

Hack'brett  (Ger.)    Dulcimer. 


02 


HALB— HARMONIC. 


Halb  (Ger.)  Half  ;  also,  "  smaller  "... 
Hal'be  Applikatur',  half-shift.  .  .Halh'- 
bass,  a  double-bass  of  smaller  size  than 
wsnaX. .  .Ha/l>'cello,  a  small  'cello... 
Halb'gedcckte  Slim'me,  see  Stiinme  3. 
.  .Haiy instrument,  see  Ganzinstru- 
Ttient. .  .Halb' kadenz,  half-cadence. .  . 
Halb'mond,  crtsctn^.. .  .Hal' be  jVote, 
haU-note. .  .Ha I' be  Or' gel,  an  organ 
lacking,  even  on  the  pedal,  a  stop  lower 
than  8-foot  pitch . . .  Hal' be  Pait'se,  half- 
rest.  .  .Halb'prinzipal,  an  organ-stop  of 
4-foot  pitch  (disused) . . .  Halb'sc/iluss, 
half-close. .  .Hal' be  Stim'ine,  a  half- 
stop  or  partial  sio^..  .Hal' be  Takt'note, 
hali -note.  .  .Ha lb' ton,  hal'ber  Ton, 
semitone. .  .Halb'violine,  three-quarter 
•vnolin  (for  children) . . .  Halb'violou 
[Paul],  see  Halbbass,  Deiitscher  Bass. 
.  .Halb'ioerk,  see  Halbe  Orgel. 

Half-cadence,  -note,  -rest,  -shift, 
-step,  -stop,  -tone,  see  the  nouns. 

Hallelujah.     See  Alleluia. 

Hals  (Ger.)  i.  Neck  (of  the  violin,  etc.) 
— 2.  Throat  (of  a  singer). — 3.  Stem  (of 
a  note). 

Halt  (Ger.)  A  hold  (^)  ;  usually  Fcr- 
ma'te. 

Hammer,  i.  (Ger.  Ham'mer;  Fr.  mar- 
tean;  It.  martel'lo.)  That  part  of  the 
pfte. -action  which  strikes  the  strings 
and  evokes  the  tone.— 2.  A  mallet, 
used  in  playing  the  dulcimer. .  .Havi'- 
merclavier,  -klavier  (Ger.),  early  name 
for  the  pianoforte  (opp.  to  Fedcr- 
klavicr). 

Hanac'ca.  A  Moravian  dance  in  3-4 
time,  resembling  the  Polonaise  in  the 
shifting  of  the  accent,  but  in  more 
rapid  tempo.  (Ger.  Hana'kisch.) — Alia 
k.,  in  the  style  of  this  dance. 

Hand,  harmonic.    See  Guidonian  Hand. 

Hand'bassl  (Ger.)  An  obsolete  bow- 
instr. ,  intermediate  in  size  between  the 
viola  and  'cello  ;  employed  as  a  bass- 
instr. .  .  Hand'bihhier,  Hand'leitcr,  a 
chiroplast . . .  Hand'stiicke,  short  and 
easy  exercises  or  practice-pieces. . . 
Hand' trommel,  tambourine. 

Hand-harmonica.     Accordion. 

Handle-piano.  A  mechanical  pfte.  on 
the  principle  of  the  barrel-organ  ;  the 
studs  on  the  barrel  catch  levers  con- 
nected with  the  hammers,  causing  the 
latter  to  strike  the  strings,  a  spring 
forcing  the  hammer  to  recoil  instantly. 
The  older  instr.s  have  few  or  no  damp- 


ers ;  more  recent  ones  show  an  im- 
provement in  this  regard. 

Hand-note.    Stopped  tone  (on  the  horn). 

Hand-organ.     A  portable  barrel-organ. 

Hard.  (Of  tones,  touch,  execution.) 
Coarse,  rough,  harsh  ;  cold,  unsympa- 
thetic, lacking  expression  or  feeling. 

Hardiment  (Fr.)  Boldly,  vigorously, 
dashingly.  —  Also,  Avec  hardiesse. 

Har'fe  (Ger.)  Harp . . .  Har'fenbass,  Al- 
bertinian  bass.  .  .Harfenett' ,  see  Spitz- 
harfe.  .  .  Har' feninstrumente ,  stringed 
instr.s  whose  strings  are  plucked  either 
with  the  fingers  or  a  plectrum. .  .Har'- 
fenlautc,  dital  harp. 

Harmoni'a  (Gk.  and  Lat.)     Harmony. 

Harmon'ic.  i  {adjective)  (Ger.  kar- 
mo'nisch;  Fr.  hartnontque ;  It.  armo'- 
nico.)  Pertaining  to  chords  (either 
consonant  or  dissonant),  and  to  the 
theory  and  practice  of  harmony  ;  opp. 
to  melodic. .  .H.  curve,  the  curved  fig- 
ure described  by  a  vibrating  string. . . 
H.  figuration,  broken  chords.../;^. 
flute,  see  H.  stop ...//.  hand,  see  Gui- 
donian Hand. .  .H.  mark,  in  music  for 
the  violin,  etc.,  a  sign  (°)  over  a  note, 
calling  for  an  harmonic  tone. .  .H.  note, 
see  H.  tone . .  .H.  reed,  see  H.  stop . .  . 
H.  scale,  see  Harmonic  2. . .//.  stop,  an 
organ-stop  having  pipes  double  the 
ordinary  length,  and  pierced  midway, 
so  that  a  16-foot  pipe  yields  an  8-foot 
tone.  Various  solo  stops  are  thus  con- 
structed :  An  harmonic  flute  is  a  flute- 
stop,  an  harmonic  reed  a  reed-stop, 
made  on  this  principle. .  .H.  tone,  also 
flageolet-tone,  see  Harmonic  2  {b). . . 
H.  triad,  a  major  triad. 

Harmonic.  2  {noun),  {a)  (Ger.  O'ber- 
ton;  Fr.  son  harmonique;  It.  suono 
armonico)  One  of  the  series  of  tones 
sounding  with,  but  higher  in  pitch 
and  less  intense  than,  its  generator 
(see  Acoustics). — {b)  (Ger.  Flageolet'- 
ion,  Harmo' nikaton;  Fr.  son  harmoni- 
que; It.  suono  armonico)  A  tone 
obtained,  on  any  stringed  instr.  which 
is  stopped  (violin,  guitar,  zither,  etc.), 
and  also  on  the  harp,  by  lightly 
touching  with  the  finger-tip  a  nodal 
point  of  a  string  ;  the  string,  when  set 
in  vibration,  can  then  not  vibrate  as  a 
whole,  but  only  in  independent  sections, 
each  section  corresponding  in  length 
to  the  division  of  the  string  cut  off  by 
the  finger,  and  each  producing  one  and 
the  same  tone — the  harmonic.     Thus, 


HARMONICA— HARMONY. 


93 


by  lightly  touching  the  C-string  of  a 
violin  at  its  midpoint,  it  is  divided  into 
2  vibrating  sections,  each  producing  the 
octave  of  _j^,  i.  e.,  ^^  ;  by  touching  it  one- 
third  of  the  distance  from  nut  to  bridge, 
it  is  divided  into  3  vibrating  sections, 
each  producing  the  fifth  above  the 
octave  of  g,  i.  e.,  d^  ;  etc.  Such  har- 
monics, obtained  from  open  strings, 
are  called  natttral;  when  the  string  is 
previously  shortened  by  stopping,  and 
the  harmonics  then  obtained  by  lightly 
touching  this  shortened  section,  they  are 
called  arUficial.  The  following  table 
shows  the  harmonics  obtained  on  a 
6tring  :  By  lightly  touching 
the  octave,  we  get  the  octave  ; 

"    fifth,  "    "     "    twelfth  ; 

"    fourth,  "     "     "    fifteenth  ; 

"    third  (maj.)    "    "  its  own  15th  ; 

"  third  (min.)  "  "  "  "  17th. 
The  harmonics  are  distinguished  by 
their  soft,  sweet,  ethereal  character, 
and  the  "fluty"  quality  of  their  tone 
(hence  the  epithets  _//ii'«/<7/(',  flageolet). 
They  are  called  for  by  the  sign  °  (the 
^^  hannonic  mark")  over  the  notes  to 
be  touched  {not  stopped). 
Harmon'ica.  (Comp.  Qtx.Harmo'uika) 
X.  The  instr.  developed  by  Benjamin 
Franklin  from  the  musical  glasses,  and 
named  by  him  Armoii'ica.  It  consisted 
mI  a  graduated  series  of  glass  bells  or 
basins  forming  a  diatonic  scale  (lowest 
♦one  to  the  left),  and  fastened  in  a  row 
apon  a  spindle,  which  was  made  to  re- 
volve by  a  treadle  ;  the  ends  of  the 
spindle  were  supported  by  the  end- 
pieces  of  a  trough  containing  water  to 
moisten  the  revolving  glasses,  whose 
edges  were  touched  by  the  fingers  in 
playing.  Melodies  could  be  performed, 
and  accompanied  harmonically  by  chords 
as  wide  as  the  fingers  could  stretch. — 
2.  See  Moutli-haiinonica. 

Harmonicel'lo.  A  bow-instr.  resembling 
the  'cello,  with  5  gut  and  10  wire  strings  ; 
inv.  by  Joh.  Karl  Bischofif  of  Nurem- 
berg in  the  2nd  half  of  the  i8th  century. 

Harmonichord.     See  Piano-violin. 

Harmo'nici.  Aristoxenos  and  his  fol- 
lowers, who  deduced  the  rules  of  har- 
mony from  musical  practice  ;  opp.  to 
Ci2«^«/c/  (Pythagoras  and  his  disciples), 
who  derived  their  rules  from  the  math- 
ematical determination  of  the  intervals. 

Harmon'icon.  i.  A  mouth-harmonica. 
2. — An   orchestrion. — 3.    A  keyed  har- 


monica combined  with  a  flue-stop  or 
stops  ;  inv.  by  W.  C.  Miiller. 

Harmoni-cor  (Fr.)    See  Harmoniphon  2. 

Harmonicorde  (Fr.)     Harmonichord. 

Harmo'nicum.  An  improved  form  of 
Bandonion,  inv.  by  Brendel  and  Klos- 
ser  of  .Mittweida  (Saxony)  in  1893.  It 
is,  essentially,  an  accordion-body  fixed 
in  an  harmonium-case  ;  the  keyboard  is 
made  like  either  that  ot  the  harmonium 
or  bandonion  ;  the  wind-supply  is  con- 
trolled by  treadles. 

Harmonie'  (Ger.)  i.  Harmony  ;  chord. 
— 2.  Music  for  the  wind-instr.s  (brass 
and  wood);  also  Ifarin^nie'i/iiisik. — -3. 
The  wind-instr.s  (brabs  and  wood)  col- 
lectively.— Harnioiiie'eigen,  harmonic, 
chordal ;  (tones;  proper  to  a  harmony  ; 
opp.  to  hariHoiiie' frenid .  .  .  Hariitonie'- 
lehre,  theory  of  harmony. .  .Hannonie'- 
t  ram  pete,  an  instr.  between  a  horn  and 
trumpet,  which  permitted  of  the  suc- 
cessful use  of  muted  tones  ;  inv.  early 
in  the  19th  century      [Riema.nw]. 

Harmonieux,-ieuse  (Fr.)    Harmonious. 

Harmo'nika  (Ger.)  Accordion  ;  con- 
certina ; — see  also  Holz'  harnionika, 
Mund' harnionika,  Zieli' harntonika, 

Harrao'niker  (Ger.,  pi.)     Harmonici. 

Harmon'iphon.  I.  A  keyboard  wind- 
instr.  inv.  by  Panis  of  Paris  in  1837, 
having  a  set  of  reed-pipes  in  imitation 
of  oboe-tubes  ;  hence  the  Ger.  name 
Klavieroboe. — 2.  The  hari>ioni-cor,  inv. 
by  Jaulin  of  Paris,  similar  to  the  above, 
but  with  clarinet-tubes ;  the  wind  is 
supplied  through  a  mouthpiece. 

Harmo'nisch  (Ger.)     Harmonic. 

Harmo'nium.  Comp.  Reed-organ. — In 
harmonium-music,  numerals  enclosed 
in  circles  are  used  in  lieu  of  the  stop- 
names  in  full,  and  signify; 


Stops    on    bass 
side  (sign  below 
bass  staff.) 
Q  Cor  anglais 
(2)  Bourdon 
Q)  Clarion 
(4)  Bassoon 

Harmonom'eter. 

measuring    the 
tones  (intervals) 


Stops    on  Treble 
side  (sign  above  or 
below  treble  staff.) 
O  Flute 
0  Clarinet 
Q)  Piccolo 
0  Oboe 

An     appliance     for 
harmonic   relations  of 
See  Monochord. 


Har'mony.  (Ger.  and  Fr.  Harmoni/; 
It.  arnwni'a.)  In  general,  a  combina- 
tion of  tones  or  chords  producing  mu- 
sic.— Specifically,  a  chord,  either  con- 
sonant   or    dissonant,    though   usually 


94 


HARP— HARP-WAY  TUNING. 


applied  to  the  former  kind,  especially 
to  the  triad. — Applied  to  an  entire  com- 
position, the  chordal  (harmonic)  struc- 
ture, in  contradistinction  to  the  melody 
and  rhythm  ;  hence,  2-part,  j-part  har- 
mony, according  to  the  number  oi 
parts  present.  ..  67;r(V«(z//V  h.,  that  in 
which  many  chromatic  tones  and  mod- 
ulations are  introduced  ;  opp.  to  dia- 
tonic k. .  .Close  h.  (in  4-part  writing), 
that  in  which  the  3  highest  parts  lie 
within  the  compass  of  an  octave  ;  opp. 
to  open  h. .  .  Covtpound  k.,  that  in  which 
2  or  more  of  the  tones  essential  to  a 
chord  are  doubled  ;  opp.  to  simple  h . . 
.Dispersed,  extended  h.,  see  Open  h.  .  . 
Essential  h.,  (a)  the  fundamental  triads 
of  a  key  ;  (/')  the  harmonic  skeleton  of  a 
composition,  left  after  pruning  off  all 
figuration  and  ornaments. .  .Figured  h., 
that  in  which  the  simple  chords  are  va- 
ried or  broken  up  by  foreign  and  pass- 
ing tones,  anticipations,  suspensions, 
and  other  devices  ;  opp.  to  plain  h.  . . 
Open  h.  (in  4-part  writing),  that  in 
which  the  3  highest  parts  spread  be- 
yond the  compass  of  an  octave . . .  Pure 
h.,  music  performed  with  pure  intona- 
tion (motet,  string-quartet ;)  opp.  to 
tempered  h.  .  .Spread  h.,  open  h... 
Strict  h.,  composition  according  to 
strict  rules  for  the  preparation  and  reso- 
lution of  dissonances.  .  .  Tempered  h., 
music  performed  with  tempered  intona- 
tion (pfte.,  organ);  see  Temperament. 
Harp.  (Ger.  Har'fe;  Fr.  harpe;  It. 
ar'pa.')  A  stringed  instr.  of  ancient 
origin  and  wide  dissemination,  played 
by  plucking  the  strings  with  the  fingers 
and  thumbs  of  both  hands. — The  mod- 
ern orchestral  harp  (Erard's  double- 
action  harp)  has  a  nearly  3-cornered 
wooden  frame,  the  apex  or  foot  of 
which  is  formed  by  an  upright  pillar 
meeting  the  hollow  back  (the  upper  side 
of  which  bears  the  soundboard)  in  the 
pedestal;  the  upper,  divergent  ends  of 
pillar  and  back  are  united  by  the  curv- 
ing neck.  The  gut  strings,  stretched 
vertically  between  soundboard  and 
neck,  and  tuned  by  -wrestpins  inserted 
in  the  latter,  are  46  (or  47)  in  number, 
and  variously  colored  to  render  them 
readily  distinguish- 
able ;  the  8  lowest 
strings  are  covered 
with  fine  wire.  Com- 
pass, si.K  and  one- 
half  octaves,  from 
Ci|7to/*i7(or^*p): 


Zva  ,1     > 


Ww- 


Sea 


this  is  the  fundamental  diatonic  scale  ; 
the  intermediate  chromatic  tones  are  ob- 
tained by  the  use  of  7  pedals  adjusted  in 
the  pedestal,  each  pedal  acting  on  all  the 
strings  of  the  same  letter-name  in  such 
a  way  that,  when  pressed  to  its yfrj/ posi- 
tion, the  pitch  of  every  string  affected  is 
raised  a  semitone,  and,  when  the  pedal 
is  pressed  down  to  its  second  position,  a 
semitone  higher.  Thus,  by  depressing 
all  7  pedals  once,  the  scale  would  be 
raised  from  C\}  to  C;  by  depressing 
them  twice,  to  CJ  {D^);  by  suitable 
combinations,  any  desired  key  may  be 
obtained.  The  depressed  pedals  are 
held  in  position  by  notches.  As  on  the 
Janko  keyboard,  the  fingering  of  the 
scale  is  the  same  for  every  key.  Natur- 
al harmonics  are  obtainable  ;  the  first 
harmonic  (the  octave  of  the  tone  of  the 
open  string)  is  that  almost  exclusively 
employed.  Music  for  the  harp  is 
written  on  2  staves  as  for  the  pfte. — In 
the  old  single-action  harp  each  pedal 
can  change  the  pitch  of 
its  note  by  only  oie  semi- 
tone ;  scale,  Eij  ;  com- 
pass, 5  octaves  and  a 
sixth,  from  F\  to  d^: 
A  Double  Harp  has  2  rows  of  strings 
tuned  dissimilarly;  a  Triple  Harp  ha.s 
3  such  rows. .  .ALolian  h.,  see  Aiolian. 
.  .  Couched  h.,  the  spinet.  .  .Dital  harp, 
see  Dital. ..Double-actionpedal-harp,  see 
Harp. . .  IVelsh  h. ,  a  kind  of  triple  harp. 

Harpeg'gio,  Harpeggie'ren.  See  Ar- 
peggio, Arpeggiate. 

Harpicor'do.     Same  as  Arpicordo. 

Harp-lute.     See  Dital  harp. 

Harpo-lyre  (Fr.)  A  kind  of  improved 
guitar,  with  21  strings  and  3  necks  ; 
inv.  1829  by  Salomon  of  Besanjon. 

Harp-pedal.     See  Pedal. 

Harp'sichord.  (Ger.  Kiel'fliigel;  Fr. 
clavecin;  It.  arpicor'do,  clavicem'balo.) 
A  keyboard  stringed  instr.  in  which  the 
strings  were  twanged  by  quills  or  bits 
of  hard  leather  (see  Pianoforte). —  'Vis- 
a-vis harpsichord,  one  with  a  keyboard 
at  either  end  or  side,  for  2  performers. 

Harp-way  tuning.  Favorite  early  Eng- 
lish tunings  {scordature)  of  the  viola  da 
gamba  ;  termed  harp-way  tunings  be- 
cause admitting  of  a  ready  execution  of 
arpeggios  : 


Sharp : 


Flat; 


^=^= 


HART-HEROIC. 


95 


are    found    in    German 


other  variants 
works. 
Hart  (Ger.)  Hard  ;  major  (usually  dto^^  ; 
abrupt,  unprepared  (of  a  progression 
or  modulation).  .  .//a;-/  vermin' dertcr 
Drei'klang,  triad  with  major  third  and 
diminished  fifth,  as  B-di^-f. 

Haupt  (Ger.,  "head".)     Chief,  -^^xncx- 
^a.\...I/aupf  accent,     primary    accent. 
..Ilaiipfakkord,     fundamental     triad. 
.. Haupt' gesang,        leading         melody 
{Haupt' melodie)..  .Haupt' kadenz,    full 
cadence. .  .Haupt' manual,  great-organ 
manual  (abbr.  Man.  I.)..  .Haupt' note, 
[a)  principal  note  ;  (/')  chord-note  ;  (r) 
accented     note;    {d)     melody-note... 
Haupt' prinzipal,    8-foot    diapason    (on 
manual),  i6-foot  (on  pedal). .  .Haupf- 
probe,  see  Generalprobe ..  .Haupt' satz, 
principal   ih^mQ. .  .HaupfscJiluss,   full 
cadence . . .  Haupt' septime,       dominant 
yth.  . . Haupt' stinime,  principal  part.  .  . 
Haupt' thema,  first  or  principal  theme. 
..Haupt' ton,  {a)  root  (of  a  chord;  in 
recent  theory,  the  //t/i  of  the  minor 
triad)  ;    {b)   key-note ;    (c)   see   Haupt- 
note... Haupt' tonart,  the  principal    or 
ruling  key  in  a  composition. . . Haupt' - 
werk  (abbr.  //.   IV.),  great  organ. 
Hausse  (Fr.)    Nut  (of  a  bow). .  .Hausser, 

to  raise  (the  pitch). 
Haut,-e   (Fr.)      High,    acute. ..//(? /'/«'- 
contre,  high  tenor.  .  .Haut-dessus,  high 
soprano.  .  .Haute-taille,  high  tenor. 
Hautbois    (Fr.)      Oboe...//.    d\imour, 

see  Oboe. 
Hautboist'  (Ger.)     A  player  in  a  military 

band. 
Haut'boy.     Oboe. 

Head.  I.  Point  (of  bow).— 2.  In  the 
violin,  lute,  etc.,  the  part  above  the 
neck,  comprising  peg-bo.x:  and  scroll. — 
3.  In  the  drum,  the  membrane  stretched 
over  one  or  both  ends. — 4.  In  a  note, 
the  oval  (formerly  square  or  diamond- 
shaped)  part  which  determines  its  place 
on  the  sl^.^.  ..Head-tones,  Head-voice, 
the  vocal  tones  of  the  head-register; 
opp.  to  chest-tones,  etc. 
Heel.  (Ger.  Stdckchen  [des  Raises]  ; 
Fr.  talon  [de  la  manche].)  In  the  violin , 
etc.,  the  wooden  elbow  or  brace  by 
which  the  neck  is  firmly  fastened  to  the 
body. 
Heer'pauke   (Ger.)     An   old   and   very 

large  form  of  kettledrum. 
Heftig   (Ger.)      Vehement,    impetuous, 


.Hef'tigkeit, 


passionate  (also  adverb) 
vehemence,  passion. 

Heim'lich  (Ger.)  Secret,  mysterious; 
furtive,  stealthy,  clandestine.  (Also 
adverb^ 

Hei'ter  (Ger.)  Serene,  cheerful,  glad. 
(Also  adverb.) 

Hel'dentenor  (Ger.)     See  Tenor  i. 

Hel'icon.  (Ger.  Helikon.)  i.  An  an- 
cient instr.  for  illustrating  the  theory  of 
the  mus.  intervals,  consisting  of  9 
strings  stretched  across  a  square  reso- 
nance-box.— 2.  A  brass  wind-instr.  of 
recent  invention,  used  chiefly  in  mili- 
tary music  as  a  bass  ;  its  tube  is  bent  to 
form  a  circle,  and  it  is  carried  over  the 
shoulder.  It  is  constructed  in  various 
pitches  {F,  E->,  C,  B')),  and  of  broad 
scale,  so  that  its  lowest  natural  tone 
speaks  (2  octaves 


below  the  notes 
on  the  bass-staff        15™ 
Helper.     An  octave-pipe  set  beside  and 
sounding  with  another  of  8-foot  pitch, 
for  the  sake  of  brilliancy. 
Hemidemisemiqua'ver.     A   64th-note, 

..H.-rest,  a  64th-rest. 
Hemidiapen'te.    In  Gk.  music,  a  dimin- 
ished fifth. 
Hemidi'tone.     In  Gk.  music,  a   minor 

third. 
Hemio'la,  Hemio'lia(Gk.)   i.  In  ancient 
music,  quintuple  rhythm  (5-4,  5-3  time). 
—2.  The  interval  of  a  fifth  (2  :  3).— 3- 
A  triplet  (3  .2). — 4.  In  mensurable  no- 
tation, see  Notation,  §3,  Color. 
Hem'iphrase.     A  half-phrase. 
Hem'itone.     In  Greek  music,  the  inter- 
val of  a  half-tone  (256:  243).  the  mod- 
ern (diatonic)  semitone  being  16:  15. 
Hep'tachord.     In   Greek  music,  a  dia- 
tonic series  of  7  tones,  with  one  semi- 
tone-step between  the  3rd  and  4th.— 
2.  The  interval  of  a  major  7tb.— 3-  A. 
7-stringed  instr.  —4.  The  7-tone  scale. 
Hep'tad,  Heptadec'ad.     See  Duodene 
Herab'strich  (Ger.)     Down-bow. 
Herauf'strich(Ger.)    See  Hinaufstrich. 
Heroic.     (Ger,  hero'isch;  Fr.   kJroique; 
It.  ero'ico,-a.)   Grand,  imposing,  noble, 
bold,    daring   (in   conception,  or    con- 
struction)..  .The  "  Heroic  Symphony 
(Sinfoni'a  ero'ica)  by  Beethoven  is  the 
Third,   Op.    55  in  Eq.. -Heroic  verse, 
{a)  in  classical  poetr>',  the  hexameter ; 
<!?)  in  Engl. ,  Ger.,  It.  poetry,  the  iambic 


96 


HERSTRICH— HOOK. 


of  lo  syllables  ;  (<)  in   Fr.  poetry,  the 
Alexahdrine. 

Her'strich  (Cer.,  "hither-stroke".) 
Down-bow  (on  the  'cello  and  double- 
bass). 

Herun'terstrich  (Ger.)  Down-bow  (on 
the  violin,  etc.) 

Her'zig  (Gen,  "hearty,"  "heartily".) 
Same  as  Innig,  but  perhaps  imj>lies 
greater  naivete. 

Hes  (Ger.,  "  //fc>.")     Unusual  for  (Ger.) 

^[  =  (Eng:.)Bt>]...^./..,  Bb7. 
Heu'len  (Ger.)     Ciphering, 

Hex'achord,  i.  In  Greek  music,  (</)  a 
diatonic  series  of  6  tones  ;  {b)  the  inter- 
val of  a  major  sixth. — 2.  See  Soli/ii- 
salii'ii. 

Hexam'eter.  The  usual  hexameter-line 
has  6  feet,  the  first  4  being  dactyls  or 
spondees,  the  5th  a  dactyl  or  spondee, 
and  the  6th  a  spondee  or  trochee,  thus  : 


Hidden.     See  Octave. 

Hift'horn    (Ger.)      A    kind    of  wooden 

hunting-horn   producing  2  or  3  tones  ; 

there  were  3  varieties,  the  Zin'ke  (high), 

Halli' riidenhorn  (medium),  and  Rii'doi- 

horn  (low  pitch). 

Hilfs-  (Ger.)  Auxiliary. .  ./////"//////V, 
leger-line.  .  .ZT/Z/J-';/^'/.',  auxiliary  note. 
.  .Hilfs' st'uiiine,  mutation-stop. — (Of- 
ten Jliilfs-.) 

Hinauf'strich  (Ger.)  Up-bow  (on  the 
violin,  etc.) 

Hin'strich(Ger.,  "  thither-stroke".)  Up- 
bow   (on  the  'cello,  and  double-bass). 

Hin'tersatz  (Ger.)  In  old  German  or- 
gans, a  mixture-stop  placed  behind  the 
diapason,  which  it  reinforced. 

Hip'pius.  I.  A  metrical  foot  of  4  syl- 
lables, 3  long  and  i  short  ;  called  ist, 
2nd,  3rd  or  4th  hippius  according  as 
the  short  syllable  occupies  the  ist,  2nd, 
3rd  or  4th  place.  —2.  Same  as  Molossits. 

His  (Ger.)     ^%. .  .His'is,^-x  . 

Histor'icus  (Lat.)     Narrator  (oratorio). 

Hobo'e  (Ger.)     See  Oboe. 

Hoch  (Ger.)  High,  a.cnX.e. .  .Hoch'amt, 
high  MsiSS. . . //oc/i'zeitsmarsek,  wed- 
ding-march. 

Hock'et.  An  early  form  of  contrapuntal 
vocal  composition  in  2  or  3  parts,  char- 
acterized by  the  frequent  and  sudden 
interruption,  in  rapid  alternation,  of  the 
vocal   parts,    producing    a   spasmodic, 


"  hiccupy "  effect;  chiefly  in  vogue 
during  the  12th  and  13th  centuries. 
(Also  spelled  hoquet,  hocquet,  Aoquetus, 
ochctus,  etc.) 

Hoh'e  (Ger.)  High  pitch,  acuteness ; 
high  register  (e.  g.  ''''  Obo'  enhdhe'\\i\^- 
est  notes  of  the  oboe). 

Hohrflote  (Ger.  ;  Fr.  flilte  crense;  the 
smaller  sizes  are  also  called  Hohlpfei- 
feit.)  In  the  organ,  an  open  flue-stop 
of  broad  scale,  usually  with  eared  pipes, 
having  a  dark,  mellow  timbre,  some- 
what hollow  (whence  the  name),  gener- 
ally of  8  or  4-foot  pitch,  seldom  of  16' 
or  2  .  As  a  mutation-stop  in  the  fifth 
it  is  called  the  Ilokl'quinte. 

Hold.  {Ger.  Fer ma' te;  Yx.  point  d^ arret, 
coiironne;  It.  ferma'ia,  coro'na.)  The 
sign  ^  over,  or  vi/  under,  a  note  or 
rest,  indicating  the  indefinite  prolonga- 
tion of  its  time-value,  at  the  performer's 
discretion,  in  accordance  with  the 
rhythm  of  the  composition.  .  .In  orches- 
tral scores  often  called  (Ger.)  Gejieral'- 
faiise,  {\t.) pa'tisa  genera'le. — (In  Eng- 
land, usually  called  a  Patise.)—V\a.cedi 
over  a  bar  or  double-bar,  the  hold  in- 
dicates a  slight  pause  or  breathing-spell 
before  attacking  what  follows  ;  opp.  in 
this  sense  to  Attacca. 

Holding-note.  A  note  sustained  in  one 
part  while  the  others  are  in  motion. 
[Staixer  a.nd  Barrett.] 

Holz'blaser  (Ger.,  sing,  and  pi.)  Play- 
er(s)  on  wood  wind-instr.s.  (Abbr. 
Ilzbl.').  .  .  Ilo/z'bla  sins  triune  12  te,  wood 
wind-instr.s;  technically,  the  "wood- 
wind ". 

Hol'zernes  Gelach'ter  KGer.)      Xylo- 

Holz'harmonika  )      phone. 

Homophone  (Fr.)  The  enharmonic  of 
a  given  tone,  as  (/of  rx  ,  a'p  of  r^,  etc. 

Homophonic,-ous.  (Tit.,  alike  in  sound 
or  pitch.)  I.  In  earlier  music,  unison- 
ous, in  unison  ;  opp.  to  antiphonic. — 2. 
In  modern  music,  a  style  in  which  one 
vielody  or  part,  supported  to  a  greater 
or  less  extent  by  chords  or  chordal 
combinations,  (i.  e.  an  accompanied 
melody),  predominates,  is  called  homo- 
phonic  ;  opp.  to  polyphonic . .  .HomO' 
phony,  homophonic  music;  opp.  to  an- 
tiphony  and  polyphony.     (See  Monody^ 

Hook.  (Ger.  Fah'ne,  Fahn'chen ;  Fr. 
crochet ;  It.  co'da  nncina'ta.)  A  stroke 
attached  to  the  stems  of  eighth-notes, 
i6th-notes,  etc.  (J**  * ).  Also  Flag, 
Pennant. 


HOQUETUS— HdRNSORDIN. 


97 


Hoquetus.     Hocket. 

Ho'rae  cano'nicae  (Lat.)  The  canonical 
hours. 

Horn,  (Ger.  Horn  ;  Fr.  cor;  It.  cor'jio.) 
One  of  a  group  of  brass  wind-instr.s 
distinguished  by  the  following  charac- 
teristics :  Cupped  mouthpiece  of  coni- 
cal shape  ;  conical  tube,  narrow  and 
long,  variously  bent  upon  itself  (the 
smallest  horn  generally  used,  in  high 
Bp,  has  a  tube  nearly  g  feet  long  ;  that 
an  octave  lower  in  pitch,  nearly  i8  feet), 
wide  and  flaring  bell  ;  the  tone  is  rich 
and  mellow,  sonorous  and  penetrating  ; 
the  compass  lies  between  the  2nd  and 
1 6th  tones  of  the  harmonic  scale.  The 
older  naturalox  French  I/or)i,  yielding 
only  the  natural  tones  supplemented  by 


"stopped  tones",  has  a  fairly  com- 
plete chromatic  scale  of  2  octaves  and  a 
fifth,  from  the  3rd  partial  (lowered  by 
stopping)  up  to  the  i6th  partial;  there 
are    16    crooks   in    all,  Ig 

giving  a  total  possible  I __-. 

compass  of  3  %  octaves:  bw 
but  only  8  or  10  are  in  general  use  in 
the  symphony-orchestra  ;  the  following 
tones  at  either  end  of  this  scale  are 
difficult : 


u;  there 


w 


^   -4- 


=5=^ 


:i!M=&cz 


Actual  p'  tch  : 


Thus  the  highest  "  safe  "  tones  on  the 
horns  in  common  use  would  be  (accord- 
ing to  Gevaert): 


Horn  in 


Notation  : 


D 


E 


F       G    Ab       A     Bb     (C) 


Partial  tone  16  16  15  14 
The  stopped  tones  have  a  peculiarly 
sombre  quality,  and  are  often  utilized 
for  special  effects  ;  they  can  be  pro- 
duced on  the  valve-horn  in  exactly  the 
Bt)       C       D      Eb      E 


13  13  12  10  10  10  10 

same  manner  as  on  the  natural  horn 
(also  comp.  Trumpet).  This  modern 
Valve-horn  is  usually  constructed  in 
the  following  sizes  [RiemannJ: 

F       G     Ab      A       Bb       C 


\r=r 


),^_,       n^^       b^=(=g) 


low 


the  given  pitch-note  being  in  each  case 
the  2nd  partial  tone  (octave  of  the  gen- 
erator), and  repre-  Wf.  -  the  horn  be- 
sented  in  each . ing  a  trans- 
case  by  the  note:  '^  posing  in- 
str. ;  when  the  C-cIef  is  employed,  the 
notes  are  written  an  octave  higher  than 
when  noted  in  the  /-clef,  consequently 


m 


w 


Horn-band.  A  band  of  trumpeters... 
Russian  horn-band^  a  band  of  perform- 
ers on  hunting-horns,  each  of  which 
produces  but  one  tone,  the  number  of 
players  and  instr.s  being  equal  to  that 
of  the  scale-tones  required  by  any  given 
piece  ;  e.  g.  37  for  the  chromatic  scale 
of  3  octaves. 

Horner  (Ger.)  Plural  of  Horn,  equiv.  to 
corni.    (Abbr.  Hr,') 


high 

Horning.  A  mock  serenade  with  tinhorns 
and  other  discordant  instr.s,  performed 
either  in  humorous  congratulation,  as  of 
a  newly  married  couple,  or  as  a  mani- 
festation of  public  disapproval,  as  of 
some  obnoxious  person.  (Local  U.  S.) 
[Century  Dict.] — A  callithumpian 
concert. 

Horn'musik  (Ger.)  .See  Harmoniemusik, 

Hornpipe,  i.  An  obsolete  English 
mus.  instr. — 2.  An  old  English  dance 
in  lively  tempo,  the  earlier  ones  in  3-2 
time  with  frequent  syncopations,  and 
the  later  in  4-4  time  ;  very  popular 
during  the  iSth  century. 

Horn'quinten  (Ger.,  "horn-fifths".)  The 
covered  fifths  produced  by  the  natural 
tones   of      n       I        1 J_ 


Horn'sordin  (Ger.)     Mute  for  a  horn. 


98 


HOSANNA— IDYL. 


Hosan'na;  Hosian'na  (Hebr.)  Lit. 
"save,  I  pray";  an  interjection  used  as 
a  prayer  for  deliverance  or  as  an  accla- 
mation.— In  the  Mass,  a  part  of  the 
Sanctus. 

Hue'huetl  (Aztec.)  (Also  huehuitl,  vevtl, 
ilapanhttehuetl.)  Drum  of  the  abori- 
gines in  Mexico  and  Central  America, 
consisting  of  a  section  of  a  log  hollowed 
out,  carved  on  the  outside,  from  3  to  4 
feet  in  height,  as  thick  as  a  man's  body, 
and  set  upon  a  tripod.  The  upper  end 
was  furnished  with  a  head  of  leather  or 
parchment  which  could  be  tightened  or 
relaxed,  thus  raising  or  lowering  the 
tone.  It  was  struck  with  the  fingers, 
and  considerable  skill  was  required  to 
play  it.  From  the  indistinct  accounts 
of  the  old  Spanish  writers  it  appears  to 
have  yielded,  in  conjunction  with  the 
Teponaztli,  a  rude  harmonic  bass  accom- 
paniment. 

Huit-pieds  (Fr.)    Same  as  Halbe  Orgel. 

Hulfs-  (Ger.)     See  Hilfs-. 

Hum'mel,  Hiim'melchen  (Ger.)  i.  A 
drone. — 2.  An  obsolete  organ-stop,  by 
drawing  which  2  reed-pipes  were  caused 
to  sound  continuously  until  it  was 
pushed  in. — 3.  The  Balalaika,  which 
has  a  sympathetic  string. — 4.  The 
"  drones  "  of  the  hurdy-gurdy. 

Humoresque.  (Ger.  Humores'ke.)  A 
composition  of  humorous  or  fantastic 
style.     See  Caprice. 

Hurdy-gurdy.  (Ger.  Dreh'leier,  Bau'- 
ernleier;  Fr.  vielle  ;  It.  li'7-a  tedf'sca.) 
A  stringed  instr.  with  a  body  shaped  like 
that  of  a  lute  or  guitar,  and  from  4  to  6 
strings,  only  2  of  which  are  melody- 
strings,  the  others  being  merely  drones 
tuned  a  fifth  apart.  The  melody-strings 
(compass  ^  J^      are   stopped  by 

about     2  &^—   y )  means  of    keys 

octaves :    •-'     -*-  controlled       by 

the  left  hand ;  the  right  hand  turns 
a  crank  at  the  tail-end  of  the  instr., 
which  causes  a  rosined  wheel  impinging 
on  all  the  strings  to  revolve,  thus  pro- 
ducing the  harsh  and  strident  tone. 
This  wheel  and  the  key-mechanism  are 
contained  in  an  oblong  box  correspond- 
ing to  the  neck  of  the  lute,  etc.,  but  set 
directly  on  the  belly,  only  the  peg-box 
and  head  projecting  beyond.  The 
melody-strings  pass  through  this  box, 
and  are  attached  to  a  tailpiece  ;  the 
drones  lie  outside.  The  music  pro- 
duced   is    of    the    rudest    description. 


The  hurdy-gurdy  was  in  great  vogue 
from  the  loth  to  the  12th  century. 

Hur'tig  (Ger. )  Quick,  brisk,  svfMt;  presto. 

Hydrau'licon.     An  hydraulic  organ. 

Hydraulic  organ.  (Ger.  IVas'serorgel; 
Gk.  hydraii' los ;  Lat.  or'gnuum  hydrau'- 
Hcum.)  A  small  kind  of  organ,  inv.  by 
Ktesibios  of  Alexandria  (180  B.  C.),  in 
which  the  wind-pressure  was  regulated 
by  water. 

Hymn.  (Ger.  and  Fr.  Hytnne;  It.  in'no) 
A  religious  or  sacred  song  ;  usually,  a 
metrical  poem  to  be  sung  by  a  congre- 
gation... In  foreign  usage,  a  national 
song  of  lofty  character,  such  as  the 
Alay-seillaisc. 

Hy'per  (Gk.)  Over,  above  ;  often  occurs 
in  compounds,  as  hyperdiapa'son,  the 
octave  above  ;  hyperdiapen'te,  the  fifth 
above,  etc. .  .In  the  Greek  transposing 
scales  (see  Greek  music)  hyper  signified 
a  fourth  higher.   (Lat.  equivalent  super.) 

Hypercatalectic.  In  dipodic  versifica- 
tion, a  line  having  a  redundant  half- 
foot  (either  thesis  or  arsis)  is  thus 
termed  ;  hypercatalexis  being  such  state 
of  redundancy. 

Hy'po  (Gk.)  Under,  below ;  frequent 
in  compounds,  as  hypodiapa'son,  the 
octave  below,  hypodiapen'te,  the  fifth 
below,  hypodit' onos ,  the  third  below.  . . 
In  the  Greek  transposing  scales  (see 
Greek  music)  and  the  church-modes 
(see  Mode),  hypo  signified  a  fourth 
below  ;  in  the  ancient  Greek  modes,  a 
fifth  below.     (Lat.  equivalent  sub.) 


I. 


I  (It.,  masc.  pi.)     The. 

lam'bus.  A  metrical  foot  of  2  syllables, 
one  short  and  one  long,  with  the  ictus 
on  the  long  (-'  -^). 

las'tian.     Same  as  Ionian. 

Ic'tus.  Accent  or  stress,  either  rhythmi- 
cal or  metrical. 

Idea.  A  musical  idea  is  a  figure,  motive, 
phrase  or  strain,  with  or  without  har- 
monic concomitants  ;  also,  a  fully  de- 
veloped theme  or  subject. 

Id^e  fixe  (Fr.)  Berlioz's  term  for  an 
oft-recurring  and  characteristic  idea  or 
theme  ;  a  sort  of  leading-motive. 

I'dyl.  (Ger.  and  Fr.  Idyl'le;  It.  idil'lio.) 
A  composition  of  a  pastoral  or  tenderly 
romantic  character. 


IL— INBETONT. 


99 


II  (It.,  masc.  sing.)  The. 

Imboccatu'ra  (It.)  i.  Mouthpiece  (of 
a  wind-instr.) — 2.  Li/>  2. 

Imbro'glio  (It.)  "  Embroilment,  con- 
fusion". A  passage  in  which  the  rhythm 
of  the  different  parts  is  sharply  con- 
trasted and  perplexing  in  effect. 

Iraitan'do  (It.)     Imitating. 

Imitation.  (Lat.  imita'tio;  Fr.  imitation; 
It.  imi/azio'tie;  Ger.  N'ach'ahmung.) 
The  repetition  of  a  motive,  phrase  or 
theme  proposed  by  one  part  (the  ante- 
cedent) in  another  part  (the  consequent), 
with  or  without  modification.../,  at 
the  fifth,  octave,  etc.,  that  in  which  the 
consequent  follows  the  antecedent  at 
the  interval  of  a  fifth,  octave,  etc.  . ./.  by 
augmentation,  that  in  which  the  time- 
value  of  each  note  of  the  antecedent  is 
increased  according  to  a  certain  ratio  in 
the  consequent  (J  =  J,  or  J  =  J.  etc). 
../.  by  diminution,  that  in  which  the 
time-value  of  each  note  in  the  ante- 
cedent is  decreased  according  to  a  cer- 
tain ratio  in  the  consequent  (J  =  J 
etc.).../.  by  inversion,  that  in  which 
each  ascending  interval  of  the  ante- 
cedent is  answered  by  a  like  descend- 
ing interval  in  the  consequent,  and 
descending  intervals  by  ascending  ones. 
..Canonic  i.,  strict  imitation  (see  Ca- 
non)... Free  i.,  that  in  which  certain 
modifications  of  the  antecedent  are  per- 
mitted in  the  consequent  (e.  g.  augmen- 
tation, diminution,  reversed  imitation, 
as  explained  above  ;  or  when  certain 
intervals  are  answered  by  others,  the 
time-value  of  certain  notes  altered,  etc.); 
opposed  to  Strict  imitation,  in  which 
the  consequent  answers  the  antecedent 
note  for  note  and  interval  for  interval . 
..Retrograde  i.,  that  in  which  the 
theme  is  repeated  backwards  {recte  e 
retro);  see   Cancrizans. 

Ini'mer  (Ger.)  Always  ;  continuously  ; 
immer  starker  werdend,  continually 
growing  louder  ;  immer  langsamer , 
slower  and  slower ;  immer  langsam, 
slowly  throughout. 

Immuta'bilis  (Lat.)  One  of  the  fl^r(-;;/MJ- 
eccl. 

Impazien'te  (It.)  Impatient,  restless, 
vehement.  .  .Impazientemen' te,  impa- 
tiently, etc. 

Imperfect  cadence,  consonance,  in- 
terval, measure.  Seethe  nouns... 
Imp.  time,  see  Notation,  §3. 


Imperfection,  i.  See  Notation,  §3. — 
2.  In  a  ligature,  the  presence  of  a  breve 
as  final  note,  indicated  by  using  the 
figura  obliqua  (  fa  ). 

Imperio'so,-a  (It.)  Imperious,  haughty, 
lofty. 

Im'peto  (It)  Impetuosity ...  C(?«  i.,  or 
impetiiosamen'te,  impetuously. .  .Impe- 
tuosita',  impetuosity ... /w/c/^ci'j-o,  -a, 
impetuous. 

Implied  discord.  An  interval  which, 
though  not  itself  dissonant,  is  contained 
within  a  dissonant  chord  ;  e.  g.  a  ma- 
jor third  in  [J^;z3I^ —  ..  .Implied  in- 
the  chord  :  1^— ^^  ierval  (in  tho- 
rough-bass), an  interval  not  indicated 
by  a  figure,  but  understood,  2 
e.  g.  the  sixth  and  foiirih  ^-'^—^t— 
in    a   chord   of   the   second  :  L ^" 

Imponen'te  (It.)    Imposing,  impressive. 

Impresa'rio  (It.)  The  agent  or  mana- 
ger of  a  traveling  opera  or  concert-com- 
pany.— Occasionally,  an  instructor  of 
singers  in  opera  or  concert. 

Impromp'tu.  i.  An  improvisation. — 
2.  A  composition  of  loose  and  extem- 
poraneous form  and  slight  develop- 
ment ;  a  fantasia. 

Imprope'ria  (Lat.,  "reproaches".)  In 
the  Roman  ritual,  a  series  of  antiphons 
and  responses  forming  part  of  the 
solemn  service  substituted,  on  the 
morning  of  Good  Friday,  for  the  usual 
daily  Mass. 

Impropri'etas  (Lat.)  A  term  applied 
to  a  ligature  when  its  first  note  is  not  a 
breve,  but  a  long;  indicated,  when  the 
second  note  ascends,  by  a  descending 
tail  to  the  right  or  left  of  the  first ; 
when  the  second  note  descends,  by  the 
absence  of  the  tail.  Opp.  to  Proprietas. 

Improvisation.  Extemporaneous  music- 
al performance. 

Improviser  (Fr.)  To  improvise.  .  ./w- 
provisateur  {-trice),  a  male  (female)  im- 
proviser. 

Improvisier'maschine  (Ger.)  A  melo- 
graph. 

Improwisa're  (It.)  To  improvise... 
Im'provvisamen'te,  extemporaneously. 
.  .Improvvisa'ta,  an  improvisation,  im- 
promptu .  .  .  Improvvisato're  {-tri'ce),  a 
male  (female)  improviser. .  ..4lTimprov- 
vi'sta,  extempore. 

In'betont  (Ger.)  With  mediate  accent 
(See  Abbetont.) 


lOO 


INCALZANDO— INTERLUDE. 


Incalzan'do   (It.)       "Pursuing    hotly." 

See  Slringt'udo. 
Incarna'tus.     Part    of  the  Credo.     See 

Mass. 
Inch  of  Wind.     See  JVeight 
Inchoa'tio  (Lat.)  The  introductory  tones 

or  intonation  of  a  plain-song  chant. 

Incomplete  stop.  A  partial  stop  (or- 
gan). 

Incrociamen'to  (It.)     Crossing. 

Indeci'so  (It.)     Undecided. 

Independent  chord,  harmony,  triad. 
One  which  is  consonant  (i.  e.  contains 
no  dissonance),  and  is  therefore  not 
obliged  to  change  to  another  by  pro- 
gression or  resolution  ;  opp.  to  Depe)id- 
ent. 

Index.     Same  as  Direct. 

Indifferen'te  (It.)  Indifferent,  careless. 
.  .Indifferentemen' te,  or  con  indiffc- 
ren'za,  indifferently,  etc. 

Inferna'Ie  (It.)     Infernal,  hellish. 

Infinite  canon.  (It.  ca'none  injini'to.) 
See  Caiii'iir. 

Inflati'lia  (Lat.)  Inflatile  or  wind-in- 
struments. 

Infrabass'  (Ger.)    Subbass. 

Ingan'no  (It.)  Deceit. . .  Caden'za  d'in- 
gaiiiio,  deceptive  cadence. 

Ingres'sa.  Name  of  the  Introit  in  the 
Ambrosian  rite. 

In'halt  (Ger.)  Contents  ,  idea,  concep- 
tion ;  subject-matter. 

Inharmonic  relation.  See  False  rela- 
tion. 

Inner  parts.  Parts  lying  between  the 
highest  and  lowest.  ..///;/ tv-  pedal,  a 
pedal-point  in  such  part  or  parts. 

In'nig  (Ger.)  Heartfelt,  sincere ;  fer- 
vent, intense  ;  with  deep,  true  feeling  ; 
equivalent  to  It.  affettuo'so,  con  ciffel'- 
to;  in'tiino,  ijitimis' simo .  .  .Mit  in'- 
nigem  Aus'druck,  with  heartfelt  ex- 
pression . .  .  In'nigkeit,  deep  emotion  or 
feeling,  fervency,  intensity. .  ./«'«4'- 
lick,  same  as  Innig. 

fn'no  (It.)     Hymn. 

Innocen'te  (It.)  Natural,  unaffected. . . 
Innocenteinen'te,  naturally,  artlessly.  . . 
Innocen'za,  naturalness,  artlessness,  etc. 

In  no'mine  (l.at.,  "in  the  name".)     i. 

A  kind  of  motet  or  antiphon. — 2.     See 

Fuga  in  nomine. 
Tnquie'to  (It.)     Unrestful,  restless.  _ 


Insensi'bile   (It.)     Imperceptible. .  ./«- 

sensibilmen' te,  insensibly. 

Insisten'do  (It.)  Insistently,  urgently, 
with  strong  stress.  (Also  con  insistent 
za.) 

In'standig  (Ger.^  Urgent,  pressing. 
(Also  adverb.') 

Instan'te  (It.)    Urgent,   pressing...//?- 

stanteinen'te,  urgently,  etc. 
instrument.  (Ger.  and  Yx.  Instrument' ; 
It.  instruinen' to,  istruinen' to,  stronien'- 
to,  strii/noi'to.)  A  list  of  the  principal 
modern  instruments  is  given  opposite, 
according  to  Gevaert's  classification  ; 
the  asterisk  (*)  indicates  that  the  instr.  is 
little  used  in  the  orchestra  ;  the  brack, 
ets  ([  ]),  that  it  is  obsolete,  ornearlyso 

^strument  (Fr  )  I.  a  archet,  bow-in, 
strument.  .  .1.  a  cordes,  stringed  instru- 
ment. .  .1.  h  percussion,  percussive  in- 
strument. . ./.  a  vent,  wind-instrument. 

Instrumentation.  (Ger.  Insirumentie'- 
rung;  Fr.  instrumentation;  It.  istru- 
mentazio'jie.)  The  theory  and  practice 
of  composing,  arranging,  or  adapting 
music  for  a  body  of  instruments  of  dif- 
ferent kinds,  especially  for  orchestra. 
(See  Orchestra,  Orchestration.) — In- 
strnmentieriing  (Ger.)  is  a  term  also  oc- 
casionally applied  to  pfte. -music  to  de- 
note dynamic  shading  and  variety  of 
touch  ;  sometimes  with  reference  to  all, 
at  others  to  single,  parts. 

Intavola're  (It.)  i.  To  write  out  or 
copy  in  tablature  or  score. — 2.  To  set 
to  music.  ..Intavolatu'ra,  («)  tablature  ; 
{l>)  notation  ;  (c)  figured  bass. 
In'teger  va'lor  nota'rum  (L.it.)  "In- 
tegral value  of  the  notes",  i.  e.  their 
absolute  duration  at  an  average  tempo, 
a  question  of  high  importance  before 
the  invention  of  tempo-marks  and  the 
metronome.  Michael  Prsetorius  saya 
( 1621)),  that  about  80  tempora  (=breves, 
the  tempus,  or  unit  of  measure,  then 
being  the  breve  ^  )  should  fill  7>^ 
minutes,  thus: 

80  !^  =7i  minutes 
105  1^  =1  min.  =  iOj  M.M.;  hence 
O  ~2\\  M.M.;  ^  =42f  M.M.;  and 
|=85iM.M.  (J=85JM.M.) 

[RiEMANN.] 

Intenziona'to     (It.)     With  stress,  em- 

phasis. 
Interlude.     I.    An  intermezzo. — 2.     An 


INTERMEDE— INTERROGATIVUS. 


V 


CLASSIFIED  LIST  OF  MUSICAL  INSTRUMENTS. 
C--i'  stringed  Instruments. 


I.  with  4  strings 


j  Violin,  Viola, 

r  " 


Violoncello,  Double-bass 
ra)  by  a  bow  -{  ^_  ^^.j^j^  ^^^^  ^^^^  ,  *Vu,\a.  d'amore 

A.  Strings,  rubbed  i  j         4  strings  "(  [Viols,  various] 

(.b)  by  a  wheel  turned  by  a  crank  Hurdy-gnrd}\  Piano-violin 

(     \k     .K    fi  J  I.  without  fingerb.  Harp 

B. Strings, plucked  -  '''  ''^  tne  lingers      -j  ^   ^^,;jj^  fingerboard  *Guitar,  *Mandolin,  *Zither,  [Lute] 

'  b)  by  a  keyboard-mechanism  [Harpsichord] 

C. Strings,  percuss-  j  a)  directly  by  the  player  *Zimbalon  (or  Tympanon),  xylophone 

ed  t  b)  by  a  keyboard-niechanisni 


A.  With 
hole 


mouth-  j  a)  lateral 

'  b)  whistle-like 


Pianoforte 

II.  'Wind-Instruments. 

Flutes,  Piccolos,  Fife 


B.  With  reed 


C.  With      mouth- 
piece 


fa)  cylindrical  tube  +  beating  reed 
b)  conical  tube  -\-  beating  reed 

^c)  conical  tube  +  double  reed 


'a)  natural 


b)  chromatic 


1.  with  slide 

2.  with  holes  (keys) 


with  valves  (pis- 
tons) 


[Flutes  a  bee],  *Flageolet 

^[Chalumeau],     clarinets,     *alt-cla- 
rinet  (basset-horn),  bass-cl. 
Saxophones,  *octavin 

fOboe,*hautbois  d"amour,  alt-oboe  or 
cor  anglais 
*Sarrusophones 
Bassoon,  quint-bassoon,  double-bas- 
soon 
{Horn,  natural 
Trumpet,  natural 
*Post-horn 
*Bugle,  military 
Trombones,  slide-trumpet 
[Cornetto,  Serpent] 

or  key-trumpet 


I  [Cornetto,  S( 
-\  *Key-bugle, 
I  *Ophicleide 


D.  Polyphonic 


(  a)  without  keyboard 
j  b)  with  keyboard    \ 


Valve-horn 
Valve -trumpet 

Valve-trombone,  (*alto,  tenor,  *bass) 
Cornet  a  pistons 

Valve-bugles  or  saxhorns  ;  Tubas  or 
I.     saxhorns 


1.  with  tubes 

2.  without  tubes 


Organ 

Haimonium,  *Vocalion 


III.   Instruments  of  Percussion. 


A.  With    a    mem-  (  a)  with  tones  of  determinate  pitch 

brane  \  b)  with  tones  of  indeterm..  pitch 

i  a)  with  tones  of  determinate  pitch 

B.  Autophonic 


b)  with  tones  of  indeterm.  pitch 


Kettledrums 

Bass  drum,  side-drum,  etc. 
Bells,  carillons.  Glockenspiel 
J  Triangle,    cymbals,    tam-tam, 
1      tanets,  etc. 


instrumental  strain  or  passage  connect- 
ing the  lines  or  stanzas  of  a  hymn,  etc. 
— 3.  An  instrumental  piece  played 
between  certain  portions  of  the  church 
service  (Lat.  inierlu'diimi). 

Intermfede  (Fr.)  i.  Interlude  \.—i.  An 
operetta  in  one  act. 

Interme'dio  (It.,  dimin.  intermedict'to.) 
Interlude  2. 

Intermez'zo  (It.)  Intermezzi  were  or'irr. 
inally  short  mus.  entr'actes  in  the  Italian 
tragedies,  of  a  very  simple  description, 
and  quite  independent  of  each  other  ; 
towards  the  end  of  the  l6th  century 
they  assumed  larger  proportions  ;  finally 
they  were  treated  as  separate  parts  of 
a  whole  mus.  drama,  of  a  less  serious 
cast  than  the  principal  work  which  they 
were  intended  to  embellish,  their  acts 
alternating  with  those  of  the  latter. — 


Having  reached  this  stage,  they  merely 
had  to  be  detached  from  the  larger  work 
to  form  a  self-existent  operet/a  or  opera 
hiiffa. — Instrumental  music  sometimes 
takes  the  place  of  the  old  intermezzi  in 
modern  dramas  (e.  g.  that  to  the  "  Mid- 
summer-night's Dream,"  by  Mendels- 
sohn)... The  term  interjnezzo  is  also 
technically  applied  to  many  short  move- 
ments connecting  the  main  divisions  of 
a  symphony  or  other  extended  work ; 
sometimes  to  entire  long  movements, 
or  even  to  independent  compositions.. . 
Interm'ez'zi  in  the  Suite  are  such  dances 
(movements)  as  do  not  form  one  of  its 
regular  constituent  parts,  but  are  occa- 
sionally introduced  for  variety's  sake, 
and  usually  between  Sarabande  and 
Gigue. 

Interrogati'vus.  One  of  the  accentus  eccl. 


102 


INTERROTTO— INTERVAL. 


Interrot'to  (It.)  Interrupted.  .  ./«/<•;- 
ruzio'ne,  interruption. 

Interval.  {l^'dX..  interval' lutn  ;  Ger.  In- 
ti'rviil!' ;  Fr.  intervalle  ;  It.  interval' h.) 
The  difference  in  pitch  between  2  tones. 
— For  naming  the  various  intervals 
there  are  2  systems  in  vogue  ;  both  are 
founded  upon  and  derived  from  the 
names  of  the  intervals  formed,  in  the 
diatonic  major  scale,  between  the  key- 
note and  the  successive  ascending  de- 
grees ;  in  both  the  ist  degree  is  called 
a  Prime'  (or  First),  the  2nd  a  Second, 
the  3rd  a  Third  (or  Tierce),  4th  a 
Fourth  (or  Quart),  5th  a  Fifth  (or 
Quint),  6th  a  Sixth  (or  Sext),  7th  a 
Seventh  (or  ^c//),  and  the  8th  an  Octave 
(or  Eighth).  In  the  typical  scale  of  C- 
major  the  standard  intervals  are  as 
follows,  counting  upward  from  the  key- 
note, C  : 


{TABLE  I.) 


(i)  The  older  system,  that  in  general 
use,  will  be  explained  first  ;  premising, 
that  intervals  are  always  considered  as 
measured  upwards  from  the  lower  tone 
to  the  higher,  unless  expressly  accom- 
panied with  the  epithet  below  or  lower. 
Table  III  includes  the  standard  inter- 
vals and  their  direct  derivatives  between 


and 


!:{cl)- 


Table  III  shows  {A)  that  each  major 
or /('/-yVt/ interval,  when  widened  by  a 
semitone,  becomes  augmented ;  that 
each  major  interval,  narrowed  by  a 
semitone,  becomes  7>iinor;  and  that 
each  t?iinor  or  perfect  interval,  narrowed 
by   a   semitone,   becomes   diminished ; 

(B)  that  by  inverting  the  intervals  : 

12345678 

87.654321 
a  Perfect  interval  becomes  perfect 

a  Major  "  "         minor 

a  Minor  "  "         major 

an  Augmented      "  "  diminished 

a  Diminished        "  "         augmented  ; 

(C)  the  regular  order  of  the  standard 
intervals  according  to  their  pitch  (com- 
pare Vibration),  both  in  Just  Intona- 
tion and  Equal  Temperament,  inter- 
vals bracketted  together  being  Enhar- 


monic ;  {D)  the  division  of  the  Octave 
in  Equal  Temperament. 

(2)  In  the  newer  system,  all  the 
standard  interv'als  are  called  major; 
any  major  interval  widened  by  a  semi- 
tone becomes  augmented,  if  narrowed 
by  a  semitone,  it  is  minor ;  and  any 
minor  interval  narrowed  by  a  semitone 
becomes  diminished  ; 

{TABLE   II) 


Inter-     Ma-      Aug- 
vals.     jor.  mented. ' 
Second...C— D  C— Djt  C-Dt>  C-Dt>t)  or  C«— Db 


Minor.         Diminished. 


Third... 

— E 

Fourth.. 

—V 

Fifth.... 

— (1 

Sixth.... 

—A 

Seventh. 

— B 

Octave.. 

— C 

-Bi; 


-Et> 
-Ft> 

-A[> 
-Bt> 

-c:i> 


-A[>t> 
— B(i!> 


=f5 

-Gi> 

-At> 
-B[> 

-ct> 


The  latter  system  is  simpler  and  more 
consistent  than  the  old,  and  might  be 
advantageously  substituted  for  it  if  all 
leading  musicians  Ln  England  and 
America  would  agree  to  adopt  it  ;  other- 
wise, its  occasional  use  can  serve  only 
to  increase  the  confusion  unhappily  pre- 
vailing in  English  musical  terminology. 
In  this  Dictionary  the  older  system  is 
adhered  to  throughout.  An  interval  is  : 
— Augmented,  when  wider  by  achroma- 
tic semitone  than  major  or  perfect. . . 
Chromatic,  when  occurring  between  a 
key-tone  and  a  tone  foreign  to  the  key. 
. .  Compound,  when  wider  than  an  oc- 
tave ;  thus  a  Ninth  is  an  Octave  plus  a 
Second,  a  Tenth  is  an  Octave  plus  a 
Third,  etc.  .  .Consonant,  when  not  re- 
quiring resolution  (comp.  Consonance). 
.  .Diatonic,  when  occurring  between  2 
tones  belonging  to  the  same  key  (ex- 
ceptions, the  augm.  2nd  and  5th  of 
the  harmonic  minor  scale).  .  .Dimin- 
ished, when  a  chromatic  semitone  nar- 
rower than  minor  or  perf ect . .  .  Z>/.f  j-^- 
nant,  when  requiring  resolution  (comp. 
Dissona)ice).  .  .Enharmonic,  when  both 
its  tones,  though  having  different  letter- 
names,  are  represented  by  one  and  the 
same  tone  on  an  instr.  of  fixed  intona- 
tion. .  .Extreme,  see  Augmented.  .  . 
Flat,  see  Diminished.  .  .Harmonic, 
when  both  tones  are  sounded  together. . . 
Imperfect,  see  Diminished. .  .Inverted, 
when  the  higher  tone  is  lowered,  or  the 
lower  tone  raised,  by  an  octave  (see 
Table  I).  .  .Major ;  according  to  Table 
I,  the  major  intervals  of  the  major 
scale  are  the  Second,  Third,  Sixth,  and 
Seventh  ;  ace.  to  Table  II,  all  its  inter- 
vals are  ma.]OT ..  .Melodic,  when  the  2 
tones    are    sounded    in    succession . . . 


INTERVAL. 


I03 


Inverted  Inter- 
vals. 

Perfect  Octave" 
(1:2) 

Dimin.  Octave" 

(25  :  48) 

Major  Seventh 
(8  ■•  15) 

Minor  Seventh 

(9:  16) 
Dimin.  Seventh 

(75  :  128) 
Major  Sixth 

(3:5) 

Minor  Sixth 
(5:8) 

Augm.  Fifth 
(16  :  25) 

Dimin.  Sixth 
(675  :  1024) 

Perfect  Fifth 

(2:3) 

Dimin.  Fifth 

(25  :  36) 

Augm.  Fourth 
(18  :  25) 

Perfect  Fourth 

(3:4) 
Dimin.  Fourtli 
(25  :  32) 

Major  Third 
(4:5) 

Minor  Third 
(5:6) 

Dimin.  Third 
(225  :  256) 

Major  Second 
(8:9) 

Minor  Second 
(15  :  16) 

Augm.  Prime 
(128:  135) 

Perfect  Prime 
(1:1) 


{TABLE  III.) 

WW?      ""• 


ft 


^^p 


standard 
Intervals. 

Perfect  Prime 


Augm.  Prime 

(Chromatic 

Second)* 

Minor  .Second 

(Step  of  Lead- 
ing-tone) 

Major  Secondf 

Augm.  Second 
Minor  Third 
Major  Third 
Dimin.  Fourtli 
Augm.  Tliird 
Perfect  Fourth 
Augm.  Fourth 
Dimin.  Fifth 
Perfect  Fifth 
Augm.  Fifth 
Minor  Sixth 
Major  Sixth 
Augm.  Si.xth 
■  Minor  Seventh 
Major  Seventh 
•4— Dimin.  Octave 
"Perfect  Octave 


C. 
Vibrational  Ratio  in 


Just  In- 
tonation. 

I  :  I 


128  :  135 

15  :  16 

8:9 

64:  75 

5:6 

4:  5 

25  :  32 
512  :  675 

3  :  4 

18  :  25 

25  :  36 

2:  3 

16  :  25 
5:8 

3:  5 

128  :  225 

9  :  16 

8:15 

25:48 


Tempered 
Intonation. 


i.:. 


D. 

Division   of 

Octave  in 

Equal  Tem- 
perament. 

0.00000 


0.08333 


0.16666 


0.25 


0-33333 


0.41666 


0.58333 


0.66666 


0.75 


0.83333 


0.91666 


I. 00000 


*  The  greater  chromatic  Second  ;  the  lesser  (e.  g.  d-J'$,)  is  24  :  25. 
f  The  greater  whole  tone  ;  the  lesser  (e.  g.  d-e)  is  9  "  10. 


ro4 


INTIMO— ISORRHYTHMIC. 


Minor,  when  a  chromatic  semitone  nar- 
rower than  major  or  perfect.  .  .Perfect: 
the  Prime,  Fourth,  Fifth,  and  Octave. 
.  .Redundant,  see.  Augmented.  .  Sharp, 
see  AuiTjnented.  ■  .SiiJip/e,  when  not 
wider  fhan  the  Octscvt. ..  Superfluous, 
see  Augmented. 

In'timo,  Intimis'simo  (It.)  Compare 
In  nig. 

Intona're  (It.)     To  intone. 

Intonation,  i.  The  production  of  tone, 
either  instrumental  or  vocal,  especially 
the  latter  ;  when  applied  to  the  pitch  of 
the  tone  produced,  it  is  said  to  be  cor- 
rect, pure,  just,  true,  etc.,  in  opposition 
to  incorrect,  impure,  false. — 2.  The 
method  of  chanting  employed  in  Plain 
Song.  ^3.  The  opening  notes  leading 
up  to  the  reciting-tone  of  a  chant... 
Fixed  intonation,  see  Fixed. 

In'tonator.     See  Monochord  i. 

Intonatu'ra,  Intonazio'ne  (It.)  Intona- 
tion ;    pitch. 

Intonie'ren  (Ger.)  To  intone  ;  also,  to 
voice  (as  organ-pipes)  ;  voicing. 

Intra 'da.  (It.  intra' ta,  entra'ta  ;  Ger. 
Intra'de  ;  Fr.  entrt'e.)  i.  An  instru- 
mental prelude  or  overture,  especially 
the  pompous  introduction  to  the  earlier 
dramas  and  operas  ;  hence  applied  to 
opening  movements  of  various  descrip 
tions.  —2.     See  Fnirde. 

Intre'pido,-a  (It.)  V,o\A.  .  .Intrepida- 
meii'tc,  boldly.  .  .Iiitrepidez'za,  boldness. 

Introduction.  A  phrase  or  division  pre- 
liminary to  and  preparatory  of  a  com- 
position or  movement  ;  may  vary  in 
length  from  a  short  strain  up  to  an  e.\- 
tended  and  independent  movement. 
(It.  introdtizio'ne.) 

Intro'it.  (I, at.  intro'itus,  "entrance"; 
It.  intro'ito.)  An  antiphon  sung  while 
the  priest  is  approaching  the  altar  to 
celebrate  the  Mass  ;  formerly  an  entire 
psalm,  but  abbreviated  later. — In  the 
modern  Anglican  Church,  an  anthem  or 
psalm. 

Invention.  A  short  piece  in  free  con- 
trapuntal style,  developing  one  motive 
in  an  impromptu  fashion.  (Comp. 
Bach's  30  Inventions.) 

Inversion,  i.  (Ger.  Um'kchrung ;  Fr. 
renversement;  It.  ri7iersamen'to,  rivol'- 
to.)  The  transposition  of  the  notes  form- 
ing an  interval  or  a  fundamental  chord  : 
— {A)  A  simple  interval  is  inverted  by 
setting  its  lower  note  an  octave  higher. 


or  its  higher  note  an  octave  lower  (see 
Intei-val);  compound  intervals  must  first 
be  reduced  to  simple  ones,  and  then  in- 
verted : — (/))  A  chord  is  inverted  when 
its  lowest  note  is  not  the  root ;  thus  any 
triad  has  2  inversions,  e.g.: 
a  be 


isi  inv.  ind  inv. 
a  is  the  fundamental  position;  b,  1st  in- 
version, or  chord  of  the  si.xth  ;  c,  2nd 
inversion,  or  chord  of  the  fourth  and 
si.xth  ; — a  chord  of  the  seventh  has  3 
inversions,  e.  g. : 

abed 


lEi=^^lE^t 


1st  inv.  iiidinv.  -^rdinv. 
a,  fund,  position  ;  b,  ist  inversion,  or 
chord  of  the  fifth  and  si.xth  ;  e,  2nd  in- 
'emersion,  or  chord  of  the  third  and  fourth; 
d,  jrdinversion,  or  chord  of  the  second. 
• — 2.  In  double  counterpoint,  the  trans- 
position of  2  parts,  the  higher  being  set 
below  the  lower,  or  vice  versa;  this  trans- 
position may  be  by  an  octave  or  some 
other  interval,  and  is  technically  termed 
"  inversion  in  the  octave",  "in  the  fifth", 
"  in  the  tenth  ",  etc. — 3.  The  repetition 
of  a  tlieme  in  contrary  motion,  ascend- 
ing intervals  being  answered  by  de- 
scending ones,  and  vice  versa ;  also 
called  imitation  in  contrary  motion,  or 
imitation  by  inversion. — 4.  An  organ- 
point  is  termed  inverted  when  in  some 
other  part  than  the  lowest. 

Invi'tatory.  (I.at.  invitato'7-ium)  In 
the  R.  C.  Church,  the  variable  antiphon 
to  the  Venite,  at  matins  ; — in  the  Greek 
Church,  the  triple  "O  come,  let  us 
worship  ",  preceding  the  psalm  at  each 
of  the  canonical  hours  ; — in  the  Angli- 
can Church,  the  versicle  "  Praise  ye  the 
Lord  "  with  the  response  "  the  Lord's 
name  be  praised  ",  at  matins. 

Ionian.     See  Mode. 

I'ra  (It.)  Wrath,  passion  ;  con  ira, 
wrathfully,  passionately.  ..Ira' to,  wrath- 
ful, passionate. 

Irlandais,-e  (Fr  )     Hibernian,  Irish. 

Iro'nico,-a(It.)  Ironical.  .  .Ironieamen'- 
te,  ironically. 

Irregular  cadence.     See  Cadence. 

Irresolu'to  (It.)  Irresolute,  undecided, 
hesitating. 

Isorrhyth'mic.     (Ger.  isorrhytk'miseh.) 


ISTESSO   TEMPO— JUBELHORN. 


105 


In  prosody,  an  isorr.  foot  is  one  divisi- 
ble into  2  parts  containing  an  equal 
number  of  rhythmic  units,  i.  e.  one 
having  thesis  and  arsis  of  equal  length  ; 
as  the  dactyl  ( — i^^  ■^),  anapest  (-^  ^^i 
— ),  and  spondee  (  — ; —  ). 

Istes'so  tempo,  1'  (It.)  "  The  same 
tempo"  (or  time) ;  signifies  (i)  that  the 
tempo  of  either  the  measure  or  measure- 
note  remains  as  before,  after  a  change 
of  time-signature  ;  or  (2)  that  a  move- 
ment previously  interrupted  is  to  be  re- 
sumed.    (Also  Lo  sksso  ictjif'o.) 

Istrumen'to  (It.)  Instrument. .  ./?/;«- 
mend  a  piz'zico  (Ger.  Kneif'instrii- 
menie),  stringed  instr.s  plucked  with 
fingers  or  ^\e:Cir\im..  .  .Istrumentazio'- 
ne,  instrumentation. 

Italian  sixth.     See  Extreme. 

Italien,-ne  (Fr.)  Italian  ;  a  ritalienne, 
in  the  Italian  style. 

rte,  mis'sa  est.     See  3Iass. 

J. 

Jack.  I.  In  the  harpsichord  and  clavi- 
chord, an  upright  slip  of  wood  on  the 
rear  end  of  the  key-lever,  carrj'ing  (in 
the  former)  a  bit  of  crow-quill  set  at  a 
right  angle  so  as  to  pluck  or  twang  the 
string,  or  (in  the  latter)  a  metallic  tan- 
gent.— 2.  In  the  pfte.,  the  escapement- 
lever,  usually  called  ihe  /io/>pcr  ov g?-ass- 
hopper. 

Jagd'horn  (Ger.)  Hunting-horn..  .Jagd'- 
stiick,  hunting-piece. 

Ja'gerchor  (Ger.)  Hunters'  chorus  ; 
hunting-chorus. 

Jale'o  (Span.)  A  Spanish  national  dance 
for  one  performer,  in  3-8  time  and 
moderate  tempo. 

Jalousie'schweller  (Ger.)  The  "  Vene- 
tian-bhnd  "  swell.     See  Siaell. 

Jan'izary  music.  (Ger.  Janitscha'rcn- 
mtisik,  music  for  triangle,  cymbals,  and 
bass  drum.)  According  to  Grove,  the 
Janizary  band  "  contained  I  large  and 
3  small  oboes,  and  i  piccolo  flute,  all  of 
very  shrill  character ;  i  large  and  2 
small  kettledrums,  one  big  and  3  small 
long  drums,  3  cymbals,  and  2  triangles". 

Janko  keyboard.     See  Keyboard. 

Jeu  (Fr.)  I.  Style  of  playing. — 2  {^X.jeux). 
A  stop  of  an  organ,  harmonium,  harp- 
sichord, etc.  .  .Jeu  h  botic/ie,  flue-slop. 
.  .Jeu  Ct'leste,  see  C/leste.  .  .Jeu  d'anehe, 
reed-stop ..  .y>i^   d'ange,   vox   angelica. 


.  .Jeu  de  Jliltes,  flute-stop.  .  .Jeu  de mu- 
tation, (a)  mutation-stop  ;  (b)  mixture- 
stop.  .  .Jeu  de  timbres.  Glockenspiel. .  . 
Jeu  de  violes,  consort  of  viols.  .  .Jeu  de 
voix  kumaine,  vox  humana.  . .  G^;'fl;«^ 
jeu,  plein  jeu,  full  organ  ;  full  power. 
.  .Demi jeu,  half  power. 

Jew's-harp.  (Ger.  Maultroftimel;  Fr. 
trompe,  giiimbarde ;  It.  trout' ba^  A 
small  instr.  with  a  rigid  iron  frame, 
within  which  is  adjusted  a  thin,  vibra- 
tile  metallic  tongue  ;  the  frame  is  held 
between  the  teeth,  and  the  metallic 
tongue,  being  plucked  with  the  finger, 
produces  tones  reinforced  in  loudness 
and  determined  in  pitch  by  the  cavity 
(air-space)  of  the  mouth. — P'ormerly  also 
jews-trump,  trump,  tromp. 

Jig.  (Fr.  and  Ger.  Gigue;  It.  gi'ga.)  A 
species  of  country-dance,  though  with 
all  conceivable  modifications  of  step 
and  gesture,  usually  in  triple  or  com- 
pound time,  and  in  rapid  tempo. — In 
the  Suite,  the  Gigue  is  generally  the 
last  movement. 

Jingles.  The  disks  of  metal  attached  at 
intervals  to  the  hoop  of  the  tambourine. 

Jocula'tor  (Lat.)     Seejongieitr. 

Jo'deln  (verb),  Jo'dler  (noun)  (Ger.)  A 
favorite  style  of  singing  among  the  in- 
habitants of  the  Alps,  characterized  by 
a  frequent  and  unprepared  alternation 
of  falsetto  tones  with  those  of  the  chest- 
register.  A  Jodler  is  a  song  or  refrain 
sung  as  above. 

Jongleur  (Fr.)  A  wandering  minstrel  in 
medieval  France,  and  also  in  England 
under  the  Norman  kings  ;  later,  a  jug- 
gler or  mountebank. 

Jo'ta  (.Span.)  A  national  dance  of  north- 
ern Spain,  danced  by  couples,  in  triple 
time  and  rapid  movement,  somewhat 
resembling  a  waltz,  though  with  innu- 
merable extempore  and  fantastic  varia- 
tions of  step,  and  accompanied  by  the 
castanets  and  mandolin,  with  vocal  in- 
terludes. 

Jouer  (Fr.)  To  play  (any  instrument) ; 
used  with  de,  du,  de  /'. 

Jour  (Fr. ,  "  day.")  A  corde  a  jour  is  an 
open  string. 

Ju'ba.  A  dance  of  the  negroes  in  the 
Southern  States,  forming  an  essential 
feature  of  the  breakdown. 

Ju'bal.  (Ger.)  An  organ-stop  of  either 
2  or  4-foot  pitch. 

Ju'belhorn  (Ger.)     See  Klappenhorn. 


lo6 


JUBILATE— KERAULOPHON. 


Jubila'te.  In  the  Anglican  liturgy,  the 
looth  psalm,  following  the  second  les- 
son in  the  morning  service ;  named 
from  the  first  word  of  the  psalm  in  the 
Vulgate. 

Jubila'tio  (Lat.)  In  the  R.  C.  musical 
service,  the  melodic  cadence  or  coda  on 
the  last  syllable  of  "alleluia";  also 
/ubiliis. 

Ju'bilus  (T-at.)  I.  Same  &s  Julnlatio. — 
2.  An  extended  melodic  phrase  or  orna- 
ment sung  to  one  vowel. 

Ju'la  (Ger.)  An  obsolete  55-foot  organ- 
stop. 

Jump.     I.  See  Dump. — 2.  A  leap. 

Jung'fernregal  or  Jung' fernstinime 
(Ger.)  Vox  angelica.  (Lat.  also  vox 
virginea.) 

Jupiter  Symphony.  Mozart's  49th  (and 
last)  symphony,  in  T-major. 

Juste  (Fr.)  Just,  true,  accurate  (said  of 
intonation). .  .Jusiesse,  purity  (of  tone) ; 
correctness,  accuracy  (of  ear  or  voice). 

K. 

Kadenz'  (Ger.)  Cadence;  close;  ca- 
denza. .  .Ah'gebrochene  K.,  interrupted 
ca.AQncQ.  .  .Au/'gi'Iialtene  K.,  the  fer- 
mata  (usually  on  the  \  chord)  before 
a  cadenza .  .  .  Plagal' kadenz,  plagal  cz.- 
d&nc&.  ..  Trug' kadenz,  deceptive  ca- 
dence. .  .  Un'vollkommene  {voll'kom- 
viene)  A'.,  imperfect  (perfect)  cadence. 
— Also  frequently  Schluss  (close), 
which  see. 

Kalama'ika.  A  Hungarian  national 
dance  in  2-4  time  and  rapid  tempo,  of 
an  animated  and  passionate   character. 

Kalkant'  (Ger.)  A  "  bellows-treader" 
of  the  older  German  organs.  .  .Kalkan'- 
tenglockc,  bell-signal  for  the  blower. 

Kam.'mer  (Ger.,  imitating  It.  camera.) 
A  private  room  or  small  hall .  .  .  Kam'- 
nurkantate,  chamber-cantata.  .  .Ka»i'- 
merkomponist,  court-composer  (for  a 
prince's  private  band).  .  .Kajn'merkon- 
zcrt,  (rt)  chamber-concert,  (/')  chamber- 
concerto.  . .  Kam' mermusik,  chamber- 
music.  . .  Kam'mermusiker,  court-musi- 
cian. .  . Kam' mey Sanger ,  court-singer. 
.  .  Kam'merstil,  the  style  of  chamber- 
music.  ..  A'rw'wfvA;;/,  normal  or  stan- 
dard orchestral  pitch  (now  rt'=435); 
see  Chorion..  . Kam'jtierviriuos,  court- 
virtuoso. 


Ka'non  (Ger.)     Canon. 

Kanta'te  (Ger.)     Cantata. 

Kanun'.  A  sort  of  Turkish  dulcimer 
or  zither  with  gut  strings,  played  with 
plectra  adjusted  like  thimbles  on  the 
tinger-tips. 

Kanzel'le  (Ger.)    Groove  (in  windchest.) 

Kanzo'ne  (Ger.)     Canzone. 

Kapel'le  (Ger.)  i.  Especially  in  the  i8th 
century,  a  company  of  musicians,  either 
instrumentalists  or  vocalists,  or  both, 
maintained  as  part  of  the  establishment 
of  a  court  or  nobleman,  or  of  some 
church  dignitary. — 2.  In  modern  usage, 
an  orchQStrai. .  ./iapell'kfiabe,  choir- 
boy. .  .Kapell'meister,  (a)  conductor  of 
an  orchestra  ;  (d)  Choir-master.  (Some- 
times literally  translated  chapel-master.) 
.  .  KapeW meistermusik,  "  band-master 
music",  i.  e.  music  filled  with  reminis- 
cences from  works  familiar  to  the  con- 
ductor-composer, and  hence  the  reverse 
of  original. 

Kapodas'ter  (Ger.)     Capotasto. 

Kassation'  (Ger.)     Cassazione. 

Kastagnet'ten    (Ger.,  pi.)      Castanets. 

Katalek'tisch  (Ger.)     Catalectic. 

Ka'tzenmusik  (Ger.,  "cat-music".)  A 
callithumpian    concert,  mock  serenade. 

Kavati'ne  (Ger.)     Cavatina. 

Kazoo'.  A  musical  (?)  toy,  consisting  of 
a  pasteboard  tube  furnished  with  a  gut 
string,  which  vibrates  when  the  per- 
former sings  into  the  tube. 

Keck  (Ger.)  Bold,  confident ;  pert. 
(Also  adverb.).  .  .Keck' heit,  boldness, 
confidence. 

Keh'le  (Ger.)  1\ixoz.1. .  .Kehl'fertig- 
keit,  vocal  sk\\\. .  .Kehl'kopf,  larynx. 
.  .  Kehfschlag  (Fr.  coup  de  glotte),  sud- 
den, firm  attack  of  a  vocal  tone,  the  vo- 
cal cords  closing  and  adjusting  them- 
selves simultaneously  with  the  emissioa 
of  air. 

Kehrab',  Kehraus'  (Ger.)  Familiar 
term  for  the  concluding  dance  at  a 
party  or  Dall. 

Ken'ner  (Ger.)     A  connoisseur,  expert. 

Kent  bugle.  (Ger.  Kenthom.)  Key- 
bugle. 

Kerau'lophon.  In  the  organ,  an  8-foot 
partial  flue-stop,  having  metal  pipes 
of  small  scale,  each  surmounted  by  an 
adjustable  ring,  and  with  a  hole  bored 
near   the   top ;  the   tone    is    soft    and 


KEREN— KEYBOARD. 


107 


^at^-    |.  1  n  g   a s 
the  head 


reedy.  Inv.  by  Gray  and  Davidson  of 
England. 

Keren.     A  Hebrew  trumpet. 

Kes'sel  (Ger.)  Cup  (in  mouthpiece  of 
brass  msiv.s). .  .Kes'selpauke,  kettle- 
drum (usually  simply  Pauke). 

Ket'tentriller  (Ger.)    Chain  of  trills. 

Kettledrum.  (Ger.  Pau'ke;  Fr.  tint- 
bale;  It.  tim'pano.)  The  only  orches- 
tral drum  tuned  to  accord  with  other 
instruments.  It  consists  of  a  hollow- 
brass  or  copper  hemisphere  (the  kftlle) 
resting  on  a  tripod,  with  a  head  of  vel- 
lum stretched  by  means  of  an  iron  ring 
and  tightened  by  a  set  of  screws  or  a 
system  of  cords  z.n6.  braces.  It  is  gener- 
ally played  in  pairs,  the  larger  drum 
yielding  any  tone  from  /'  to  c,  and  the 

smaller  ^^_ 1— ^ — 1 ^-i  accord- 

f  r  o  m 
B\)  to/: 

is  relaxed  or  tightened.  The  timpani 
were  formerly  noted  as  transposing  in- 
str.s  (i.e.  in  f,  with  the  added  direction 
"  Timpani  in  i5"r>,  inZ^'p,"  etc.),  but  now 
the  notes  desired  are  generally  written. 
As  used  at  first,  they  took  only  the  tonic 
and  dominant  of  the  movement,  chiefly 
as  a  rhythmical  reinforcement  ;  now 
they  take  very  various  intervals,  and 
are  employed  to  obtain  musical  and 
dramatic  effects.  They  are  struck  with 
2  sticks  having  elastic  handles  and  soft 
knobs  of  felt,  sponge,  and  the  like. 

Key  (l).  (Ger.  Ton'art;  Fr.  mode,  ton; 
It.  mo' do,  to' no.)  The  series  of  tones 
forming  any  given  major  ©r  minor 
scale,  considered  with  special  reference 
to  their  harmonic  relations,  particularly 
the  relation  of  the  other  tones  to  the 
tonic,  or  key-note  ;  the  term  "scale" 
indicates  simply  their  melodic  succes- 
sion. (Comp.  Tona/ity.)  Each  key  is 
named  after  its  key-note,  as  C-major, 
B-minor.  See  General  View,  page  108. 
The  following  keys  : 

(  C-sharpmaj.[=Z>-fIat  maj.] 
(  yi-sharpmin.[=i9-flatmin.] 

j  C-flat  maj.r=j9-major] 

{ ^-flat  min.[=C7- sharp  min.] 

are  comparatively  little  used,  being  en- 
harmonically  equivalent  to  the  simpler 
keys  added  in  brackets. .  Attendant 
keys,  see  Attendant ..  .Chromatic  key, 
one  having  sharps  or  flats  in  the  signa- 
ture ;  opp.    to  natural  k^y ..  .Extreme 


key,  a  remote  key .  . .  Major  key,  one 
having  a  major  third  and  major  sixth. 
. .  Minor  key,  one  having  a  minor  third 
and  sixXh.  .  .A'atural  key,  one  with 
neither  sharps  nor  flats  in  the  signature. 
..Parallel  key,  {a)  a  minor  key  with 
the  same  key-note  as  the  given  major 
key,  or  vice  versa  ;  (/')  same  as — Pela- 
tive  key,  see  Relative. .  .Remote  key,  an 
indirectly  related  key  (comp.  Phone,  §4). 

Key  (2).  (Ger.  Tas'te  ;  Fr.  louche  ;  It. 
ta'sto.)  I.  A  digital  or  finger-lever  in 
a  pfte.,  organ,  etc. — 2.  A  pedal  or  foot- 
key  in  the  organ  and  pedal-piano. 

Key  (3).  (Ger.  Klap'pe ;  Fr.  cU,  clef; 
It.  ckia've.)  In  various  wind-instr.s,  a 
mechanical  contrivance  for  ooening  or 
closing  a  hole  in  the  side  of  the  tube, 
thus  shortening  or  lengthening  the  vi- 
brating air-column  and  consequently 
raising  or  lowering  the  pitch  of  the  tone 
produced.  The  key  here  replaces  the 
finger-tip ;  it  is  attached  to  a  lever 
worked  by  the  finger  or  thumb,  and 
differs  in  principle  from  the  valve  in 
lying  flat  outside  the  tube. 

Key  (4).     A  tuning-key. 

Key  (5).     A  clef.     (Obsolete.) 

Key-action.  In  the  pfte.  or  organ,  the 
entire  mechanism  connected  with  and 
set  in  action  by  the  keys,  including  the 

.^  latter  themselves. 

Keyboard.  (Ger.  Klaviatitr' ;  Fr.  cla- 
vier;  It.  tastatii'ra,  tastie'rai)  The 
keys  or  digitals  of  the  pfte.,  organ,  etc., 
taken  collectively.  The  modern  stand- 
ard keyboard  is  the  product  of  an  evo- 
lution extending  over  1,000  years. — Its 
only  successful  rival  at  present  is  the 
Janko  keyboard,  inv.  by  Paul  Ton 
Jankoof  Totis,  Hungary,  in  1882,  which 
presents  to  the  eye  the  appearance  of 
six  different  rows  of  keys  arranged  step- 
wise, one  above  the  other.  But  the 
corresponding  keys  in  the  ist,  3rd,  and 
5th  rows  are  all  fixed  on  one  key-lever  ; 
thus,  if  C  be  struck  in  the  ist  (lowest) 
row,  the  corresponding  keys  in  the  3rd 
and  5th  rows  are  depressed  ;  further, 
the  2nd,  4th,  and  6th  rows  are  similarlj" 
connected  ;  so  that  any  given  tone  can 
be  struck  in  three  different  places,  ad- 
mitting of  the  choice  of  the  key  most 
convenient  to  the  position  of  the  hand 
at  any  given  instant.  The  6  rows  are 
therefore  arranged  in  3  pairs  ;  in  the 
lower  row  of  any  pair  the  succession  of 


lo8 


KEY-BUGLE— KEY-NOTE. 


Key-signa- 
f'^   ture. 


GENERAL  VIEW  OF  THE  KEYS. 


Knglish.  German. 


C-major 
A-miuor 


C  dnr 
A  moU 


Ut  majeur 
La  mineur 


Italian. 

Do  maggiore 
La  minore 


Natiual 
keys. 


-major 
-minor 


G  dur 
E  n.uU 


A-major  A  dur 

F-sharp  minor  Fis  moU 


(  E-major  E  dur 

(  C-sharp  miner  Cis  luoll 


—   (  B-major  H  dur 

t^  "l  G-sharp  minor  Gis  moll 


-Sz   (  F-sharp  major  Fis  dur 
It^    (  D-sharp  minor  Dis  moll 


tr 


J  D-fiat  major 
(  B-llat  minor 


Ges  dur 
Es  moll 


Des  dur 
B  moll 


(  A-flat  major      As  dur 
^  F-minor  F  moll 


j  E-flat  major      Es  dur 
{  C-niinor  C  moll 


j  B-flat  major       B  dur 
j  G-minor  G  moll 


Fdur 
DmoU 


Sol  majeur 
Mi  mineur 


D  dur  Re  majeur 

H  moll  Si  mineur 


La  majeur 

Fa  diese  mineur 


Mi  majeur 

Ut  diese  mineur 


Si  majeur 

Sol  diese  mineur 


Fa  diese  majeur 
Re  diese  mineur 


Sol  maggiore 
Mi  minore 


Re  maggiore 
Si  minore 


La  maggiore 
Fa  diesis  minore 


Ml  maggiore 
Do  diesis  minore 


Fa  diesis  maggiore 
Re  diesis  minore 


Sharp 
keys. 


Sol  bemol  majeur     Sol  bemolle  maggiore 
Mi  bemol  mineur     Mi  bemolle  minore 


Re  bemol  majeur     Re  bemolle  maggiore 
Si  bemol  mineur      Si  bemolle  minore 


La  bemol  majeur      La  bemolle  maggiore 
Fa  mineur  Fa  minore 


Mi  bemol  majeur     Mi  bemolle  maggiore 
Ut  mineur  Do  minore 


Si  bemol  majeur       Si  bemolle  maggiore 
Sol  mineur  Sul  minore 


Fa  majeur 
Re  mineur 


Fa  maggiore 
Re  minore 


Flat 
keys. 


keys   \%   C  D  E    [white]    F%    G%   A%  I 
[black]    c   [white],  etc.;    in    the  upper  I 

upper  row  of  keys  (in  pair) 
lower     "     "     "       "     "     C 

Consequently,  a  chromatic  scale  is 
played  by  the  simple  alternation  be- 
tween the  successive  keys  of  any  2  ad- 
joining rows  ;  the  fingering  of  all  the 
major  scales  is  uniform,  and  all  minor 
scales  are  also  fingered  alike.  The 
width  of  an  octave  on  the  ordinary  key- 
board is  just  that  of  a  tenth  on  this  ;  so 
that  large  hands  can  stretch  a  thirteenth, 
or  even  a  fourteenth  (^'-^'^p). 
Key-bugle.     See  Bugle. 


row  :   Ci  D%  [black]  F  GA  B  [white] 
c%  [black],  etc.: 

C#    D#     F     G     A     B     cij 
D      E     FjJ  Gij  Ail  c. 

Key-chord.     The  tonic  triad. 

Keyed  violin.     A  piano-violin. 

Key-fall.     See  Dip. 

Key-harp.  (Fr.  clavi-harpe.)  An  instr. 
resembling  a  pfte.  in  form,  and  with  a 
similar  keyboard,  but  having  a  set  of 
tuning-forks  in  lieu  of  strings,  Inv.  in 
1819  by  Dietz  and  Second.  (Comp. 
Kla  ~i  'iahi  r-IIa  rfe^ 

Key-note,     The  tonic. 


\ 


KEYSHIP— KLAVIER. 


log 


Keyship.     Tonality. 

Key-signature.     See  Signature. 

Key-stop.  A  key  (digital)  attached  to 
the  fingerboard  of  a  violin  so  as  to  re- 
place the  fingers  in  stopping  the  strings; 
the  instr.  is  then  called  a  key-stop  (or 
keyed-stop)  violin.  (Comp.  Klavier- 
Violoncello^ 

Key-tone.     Same  as  key-note. 

Key-trumpet.  A  trumpet  provided  with 
keys. 

Kicks  (Ger.)     The  "goose". 

Kin.  An  ancient  Chinese  instr.,  consist- 
ing of  a  soundboard  with  2  bridges, 
over  which  silk  strings  varying  in  num- 
ber from  5  to  25  are  stretched  ;  they  are 
plucked  with  the  fingers. 

Kin'derscenen  (Ger.)  Scenes  of  Child- 
hood (Schumann).  .  .Kin'derstiicke, 
pieces  for  children. 

Kind'Jich  (Ger.)  Childlike  ;  with  fresh, 
naive  effect. 

King.  An  ancient  Chinese  instr.,  con- 
sisting of  a  graduated  series  of  16  sonor- 
ous stones  (or  plates  of  metal),  sus- 
pended by  cords  and  struck  with  a 
mallet. 

Kir'chenmusik  (Ger.)  Church-music. 
.  .Ki/chento)i  (^\.-idne),  a  church- 
mode.  .  .A'/r'^/i^wj-///,  (a)  the  style  of 
harmonic  progression  peculiar  to  the 
medieval  church-modes ;  {b)  the  style 
of  sacred  music. 

Kis'sar.   The  5-stringed  Abyssinian  lyre. 

Kit.  (Ger.  Ta' schengeige ;  Fr.  pochette; 
It.  sordi'no.)  The  small  old-fashioned 
violin  used  by  dancing-masters,  with 
the  accordatura  e^-g^-d^,  and  about  16 
inches  in  length  over  all. 

Ki'thara  (Gk.)  A  harp-like  instr.  of  the 
ancient  Greeks  ;  ancestor  (in  name)  of 
the  guitar,  cithern,  zither,  etc. 

Klang  (Ger.)  i.  A  sound. — 2.  A  com- 
posite musical  tone  (a  fundamental  tone 
with  its  harmonics)  ;  rendered  t>y  Tyn- 
dall  "clang". — 3.  See  Phone,  §i-.- 
Klang'boden,  soundboard  (usually  Kc- 
sonanz'boden.  .  .  Klang'farbe,  "  clang- 
tint  ",  "tone-color",  quality  of  tone. 
.  .Klang'folge,  a  progression  of  chords, 
viewed  from  the  standpoint  of  their 
tonality.  . .  Klang'figtiren,  Chladni's 
figures  i  see  Nodal  lines. .  .Klang'ge- 
schlecht,  raodt. .  .Klang'schh'issel,  see 
Phone,  %(i. .  .Klang'stufe,  degree;  in- 
terval. .  .Klang'vertretting,  see  Phone, 


p3.  .  .Klang'-oer-wandsehaft,  chord-re- 
lationship. 

Klap'pe(Ger.)  Key  3.  .  .Klap'penhorn, 
key-bugle. 

Klarinet'te  (Ger.)     Clarinet. 

Klau'sel  (Ger.)  Clausula,  cadence... 
Bass' klaiisel,  the  dominant-tonic  skip 
of  the  bass  at  the  close. 

Klavaoli'ne  (Ger.)     See  ^olodicon. 

Klavi-  (Ger.)     See  Clavi-. 

Klaviatur'  (Ger.)  Keyboard. .  .A'Azct- 
atur-IIarfe  (or  Klavier-IIarfe),  a 
piano-harp,  i.  e.  a  harp  with  piano-key- 
board, inv.  1893  by  Ignaz  Lutz  of 
Vienna ;  the  strings  are  plucked  or 
twanged  by  plectra  (in  lieu  of  hammers) 
actuated  by  the  digitals  ;  the  effect 
closely  resembles  that  of  the  double- 
action  harp,  the  tone  being  even  fuller. 
.  .KlaT-iatnr-Zilher,  piano-zither,  i.  e. 
a  small  pfte.  in  grand  shape,  the  single 
strings  of  which  are  twanged  by  playing 
on  the  keyboard  ;  inv.  1893  by  Ignaz 
Lutz  of  Vienna. 

Klavier'  (Ger.)  i.  A  keyboard. — 2.  A 
keyboard  stringed  instr. ;  specifically,  in 
the  iSth  century,  a  clavichord  ;  now,  a 
pfte.  of  any  V\\\6..  ,  .Klazner'aitszug, 
pfte. -arrangement.  .  .Klavier  -  Harmo- 
nium, a  combined  pfte.  and  harmonium  ; 
that  inv.  1893  by  P'ranz  Woroniecki  of 
Przemysl,  Galicia,  is  shaped  like  a 
small  grand  piano,  the  harmonium- 
mechanism  being  attached  below  and 
behind  the  body  and  controlled  by  from 
5  to  10  draw-stops.  .  .Klavier' hoboe, 
harmoniphon. .  Klavier' mcissig,  suitable 
for  the  pfte.,  in  pfte. -style.  .  . Klavier' - 
satz,  (music  in)  pfte. -style,  pfte. -music, 
pfte. -writing.  .Klavier' spiel,  ^i\.Q.--^\sY- 
\Xi^.  .  .Klavier-Violoncello,  the  inven- 
tion, in  1893,  of  Prof,  de  Vlaminck  of 
Brussels.  To  a  'cello,  fixed  on  a  hor- 
izontal frame  about  the  height  of  the 
knee,  a  keyboard  is  attached  in  such  a 
manner,  above  the  strings,  that  by  ma- 
nipulating it  the  player's  left  hand  can 
effect  all  stops  and  double-stops.  With 
the  bow,  all  the  effects  on  the  'cello  as 
ordinarily  played  are  obtainable  ;  while 
purity  of  intonation  is  attained  with 
mathematical  accuracy  by  the  aid  of  the 
tangents  actuated  by  the  keys  ;  even  the 
vibrato  effect  can  be  brought  out. — 
Klavier-  Viola,  a  viola  to  which  a  key- 
mechanism  similar  to  the  foregoing  is 
applied  ;  when  played,  it  is  set  on  alow 
table  or  stand. 


KLEIN— KURZ. 


Klein  (Ger.)      Small;    minor. .  .A7t7«'- 

gedackt,  flute  (organ-stop). 
Kling'ende  Stim'men  (Ger.)    Speaking 

or  sounding  stops  (of  an  organ)  ;  opp.  to 

slum' me  Regis' ter. 

Knee-stop.  A  knee-lever  under  the 
manual  of  the  recd-orgaii ;  there  are  3 
kinds,  used  (<?)  to  control  the  supply  of 
wind  ;  (b)  to  open  and  shut  the  swell- 
bo.\  ;  (r)  to  draw  all  the  stops. 

Kneif'instrument  (Ger.)  An  instr.  hav- 
ing strings  plucked  by  the  fingers  or  a 
plectrum. 

Knie'geige  (Ger.)  Viola  da  gamba. . . 
Knie'guitarre,  guitare  d'amour.  .  .  . 
Knie'zttg,  knee-stop. 

Knopf'regal  (Ger.)     See  Apfelregal. 

Kno'te  (Ger.)  '^od^. .  .Kno'tenpunht, 
nodal  point. 

Kollektiv'zug  (Ger.)  Composition- 
pedal. 

Kol'lern  (Ger.)     See   Sgallinacciare. 

Kolophon'.     See   Colophony. 

Kombinations'pedal  (Ger.)  Combina- 
tion-pedal. .  .Koinlnnations' Ion,  combi- 
nation-tone. 

Komponie'ren  (Ger.)  To  compose... 
Koiitponicrt',  composed..  .A'oinponisl' , 
composer. 

K  on'trabass  (f  jcr.)  Double-bass. . .  K'on'- 
trafagott,  double-bassoon.  .  .Kon'tra- 
oktave,  contra-octave. .  .Ko7t'irapnnkt, 
counierpoint.  ..A'ou'irasudjei'i,  counter- 
subject. 

K  onzert'  (Ger.)  Concert ;  concerto. 
(Also  Concert.)  .  .  .  Konzert'inciste>\ 
leader,  first  y\oX\x\.. .  .Konzert'oper,  a 
light  opera  for  concert  performance 
without  stage-accessories. .  .Konzert'- 
sli'ick,  {a)  a  short  concerto  in  one  move- 
ment and  free  form  ;  (/')  any  short  solo 
piece  for  public  performance. 

Kopf'stimme  (Ger.)     Head-voice. 

Kop'pel  (Ger.)  Coupler. .  .Koppcl  ah, 
coupler  off.  .  .K.  an,  draw  coupler. 

Kornetf  (Ger.)     Comet. 

Kosa'kisch  (Ger.)  A  national  dance  of 
the  Cossacks,  the  melody  of  which  con- 
sists of  2  8-measure  repeats  in  2-4  time. 

Ko'to,  The  Japanese  zither-harp,  with 
13  silk  strings  stretched  over  an  arching 
oblong  soundboard,  each  having  a  sep- 
arate movable  bridge,  by  adjusting 
which  the  string  can  be  tuned.  Com- 
pass about  t  octaves.     The  player  uses 


both  hands  ;  the   chromatic   tones   are 

produced  by  pressing  the  strings  behind 

the  bridges. 
Kraft    (Ger.)     Force,    vigor,    energy... 

Kidf'tig,    forceful,    vigorous.       (Also 

adverb. ) 
Kra'gen  (Ger.)     Peg-box  (of  a  lute). 
Krakowiak.     See  O-acovienne. 
Krau'sel  (Ger.)     Mordent. 
Krebs'gangig  (Ger.)    Cancrizans,  retro- 

^ra.de.  .  .A'rel's'kanoft,    canon     cancri- 
zans. 
Krei'schend    (Ger.)     Harsh,    strident  j 

screeching,  screaming. 
Kreuz  (Ger.,  "across".)     A  sharp  (J{). 

.  .A'reiiz'sai/ig,    overstrung. .  . Kreuz' - 

toiiart,  a  sharp  key. 
Krie'gerisch  (Ger.)     Martial,  warlike. 
Kriegs'lied  (Ger.)     War-song. 
Kro'me  (Ger.)  Chroma. 

Krumm'bogen  (Ger.)  Crook. .  .Krumm'- 
horn,  i^Kromphorn,  Krumhorn,  hence 
Fr.  cromorne  and  It.  cor  mo  me ;  It. 
also  cornamu' to  tor'to,  or,  for  short, 
slor'io.)  I.  An  obsolete  wood-wind  instr. 
of  the  Bombard  class,  blown  by  means  of 
a  double  reed  within  a  cupped  mouth- 
piece, and  differing  from  the  bombards 
by  the  semi-circular  turn  of  the  lower 
part  of  the  tube  and  by  its  remarkably 
narrow  compass  (a  ninth).  In  the  l6th 
century  it  was  made  in  3  or  4  different 
sizes,  treble,  alto,  (tenor),  and  bass,  and 
had  6  ventages  on  the  straight  part  of 
the  tube.  The  tone  had  a  melancholy 
timbre,  which  was  imitated — 2.  in  the 
organ-stop  of  the  same  name  (also 
cormortie,  cremona,  phocinx),  formerly 
in  vogue  for  small-sized  organs  and  for 
the  echo-work  of  larger  ones  (of  8  and 
4-foot  pitch,  on  the  pedal  also  of  16- 
foot  pitch  as  Krumm' hornbass)  ;  a 
reed-stop,  the  tubes  of  which  were  fre- 
quently half-covered,  or  conical  below 
and  cylindrical  above.         [Riem.\nn.] 

Krus'tische  Instrumen'te  (Ger.)     See 

Sell  lag' in  strum  e7i  te . 

Kuh'horn  (Ger.)  The  alp-horn ...  A'm//- 
reigen,  Kuh'reihen,  Ranz  des  vaches. 

Kunst  (Ger.)  Art;  science. .  .A'tt«jr'- 
fiigtie,  fuga  ricercata...AVir'Mj/'/i?r,  artist. 
.  .A'unsf  lied,  an  ar/-song,  opp.  to  folk- 
song  {Volkslied). .  .Kunst'p/eifer,  see 
Stadtpfeifer. 

Kurz  (Ger.)  Short ;  crisp(ly). .  .Kur^zer 
Mor'dent,  short  mordent . . .  Kur'ze  Ok- 


KYRIE— LAUTE. 


tii 


ta've,  short  octave.  ..  A'//;-3  tmd  be- 
stiftimt',  short  and  decided.  .  .Kur'zcr 
Vor'schlag,  short  appoggiatura. 

Ky'rie  (Gk.,"  Lord  ".)  The  first  word, 
and  hence  the  opening  division,  in  the 
Mass, 

L. 

L.     Abbr.  for  left  (or  Ger.  links)  in  the 

direction  /.  h.  (left  hand). 
La.    I.    The  6th  Aretinian  syllable. — 2. 

(Fr.,  It.,  etc.)     The   note  ^.—3.   The 

(Fr.,  fern.  sing.)...Z<?  bJmol,  etc.,  see 

Key  J,  Table. 
Labecedisa'tion.     See  Bcbisation. 
Labial'pfeife  (Ger.)     A   labial  (lipped) 

pipe;    a    flue-pipe ...  Zczi^Az/'j^/wwc",  a 

flue-stop. 

Labisa'tion.     Same  as  Bebisalion. 

La'bium  (Lat.)  Lip  (of  an  organ-pipe). 
(Plural,  in  Ger.  use,  La'bienJ) 

Lacrimo'sa  (Lat.)  First  word  in  the 
8th  strophe  of  the  Requiem  ;  hence, 
name  of  a  movement  or  division  of  the 
grand  musical  requiem,  usually  of  a 
tender  and  plaintive  character. 
^3La'ge  (Ger.)  Position  (of  a  chord); 
position,  shift  (in  violin-playing). .  .I.a'- 
genwechsel,  change  of  position,  shifting. 
. .  E7tge  {weite)  Lage,  close  (open)  har- 
mony. 

Lagriman'do(It.)  Complainingly,  plain- 
tively..  .Za^.'-^Vw^'j-t?,  "tearful",  plain- 
tive, in  the  style  of  a  lament. 

Lah,   For  La,  in  the  Tonic  Sol-fa  system. 

Lamenta'bile  (lamentan'do,  lamen- 
te'vole,  lamento'so)  (It.)  In  a  sad, 
melancholy,  or  plaintive  style. 
/—l-and'ler  (Ger.)  A  slow  waltz  of  South 
^  Germany  and  Austria  (whence  the  Fr. 
name  Tyrolienne),  in  3-4  or  3-8  time, 
and  the  rhythm 

Lang'sam  (Ger.)  Slow,  slowly... Z«;?_o-'- 
samer,  slower. 

Language.  In  a  flue-pipe  of  an  organ, 
an  inner  partition  between  foot  and 
body  ;  see  Pipe  1,  a. 

Languen'do,  Languen'te  (It.)  Lan- 
guishing, plaintive. 

Langfuette  (Fr.)  i.  The  tongue  of  a  harp- 
sichord-jack, on  which  the  quill  was 
fixed.— 3.  Tongue  of  a  reed  in  the 
harmonium  or   reed-organ. — 3.     Pallet 


(in    the   organ). — 4.       Key   (on   wind- 
instr.s). 

Languid.     Same  as  Language. 

Languidamen'te  (It.)  Languishingly, 
languidly.  .  .Z(2/;V«;V/(9,  languid,  lan- 
guishing. 

Lantum.  A  large  kind  of  hurdy-gurdy, 
having  a  rotatory  bellows  which  supplies 
wind  to  metallic  reeds,  and  played  by 
pressing  buttons  adjusted  in  front. 

Lapid'eon.  An  instr.  consisting  of  a 
series  of  flint-stones  graduated  to  the 
tones  of  the  scale,  hung  in  a  frame,  and 
played  with  hammers  ;  inv.  by  Baudry. 

Largamen'te  (It.)  Largely,  broadly  ;  in 
a  manner  characterized  by  breadth  of 
style  without  change  of  time.    [Grove.] 

Largan'do  (It.)  "Growing  broader", 
i.e.  slower  and  more  marked  ;  generally 
a  crescendo  is  implied. 

Large.     See  Notation,  §3. 
Large,    Largement  (Fr.)    Largamente 
(Ger.  breit);  sostenuto  {Gev.  getragen). 

Larghet'to  (It.)  Dimin.  of  Z^;;^^/ calls 
for  a  somewhat  quicker  movement, 
nearly  equivalent  to  Andantiiio. 

Lar'go  (It.;  superl.  larg/iis'simo.)  Large, 
broad  ;  the  slowest  tempo-mark,  calling 
for  a  slow  and  stately  movement  with 
ample  breadth  of  style.  .  .L.  assa'i,  with 
due  breadth  and  slowness . .  .  Z.  di  molto, 
or  molto  largo,  an  intensification  of 
Largo.  .  .Poco  largo,  "with  some 
breadth";  can  occur  even  during  an 
Allegro. 

Larigot  (Fr.)  Originally,  a  kind  of 
shepherd's  pipe,  or  flageolet ;  hence,  an 
organ-stop  of  \]A,  foot  pitch,  one  of 
the  shrillest  registers. 

Lau'da  (Lat.)  A  laud  (hymn  or  song  of 
praise). .  .Lau'des,  lauds  ;  together  with 
matins,  the  first  of  the  7  canonical 
hours,  taking  its  name  from  the  i4Sth, 
149th,  and  150th  Psalms  then  sung. 

Lauf  (Ger.)  i.  .See  Ldiifer. — 2.  Peg- 
bo.K  (usually  IVir'belkasten), 

Lau'fer  (Ger.)     A  run. 

Lau'nig  (Ger.)  i.  With  light,  gay  humor. 
— 2.  With  facile,  characteristic  expres- 
sion. 

Laut  (Ger.)     i.     Loud. — 2.     A  sound. 

Lau'te    (Ger.)  A  lute .  . .  Lau'tengeige,  a 
viol. .  .  Laic'  teninstrutnente ,  see  Kneif' 
instrwnente . .  .Lautenist' ,  lute-player. 
. .  .Lau'tenmacker,  see  Luthier. 


CIS 


LAVOLT  A— LEITMOTIV. 


Lavol'ta  (It.)  An  old  Italian  dance  in 
triple  time,  resembling  the  waltz. 

Lay.     A  melody  or  tune. 
O  Le  (Fr.  and  It.)     The. 

Lead.  i.  The  giving-out  or  proposition 
of  a  theme  by  one  part. — 2.  A  cue 
(comp.  Fresa). 

Leader,  i.  Conductor,  director. — 2. 
In  the  orchestra,  the  first  violin  ;  in  a 
band,  the  first  cornet  ;  in  a  mixed 
chorus,  the  first  soprano. — (In  small 
orchestras  the  leader  [ist  violin]  is  still, 
as  was  the  rule  in  earlier  times,  also 
the  conductor.) 

Leading,  i  {ncmi).  In  a  composition, 
the  melodic  progression  of  any  part  or 
parts. — 2  {adjective).  Principal,  chief; 
ginding,  directing. .  .  Leadiug-choj-d,  the 
dominant  chord,  as  leading  into  that  of 
the  Xomc.  ..  Leading  melody.,  principal 
melody  or  theme.  . .  Leadiiig-motive,  see 
Leitmotiv.  .  .Leading-note,  -(one  (Ger. 
Leit'ton;  Fr.  tiote  sensible ;  It.  no' ta 
sensi'hile),  the  7th  degree  of  the  major 
and  harmonic  minor  scales  ;  so  called 
because  of  its  tendency,  in  certain 
melodic  and  chordal  progressions,  to 
the  tonic. 

Leaning-note.     Appoggiatura. 

Leap.  I.  In  piano-playing,  a  spring 
from  one  note  or  chord  to  another,  in 
which  the  hand  is  lifted  clear  of  the 
keyboard. — 2.      See  Skip. 

Leben'dig,  Leb'haft  ((ler.)  Lively, 
animated.  (Also  adverb). .  .Leb'haftig.^ 
keit,  animation  ;  Mit  L.  tind  dtircJiaus' 
f/iit  Empfindiing  nnd  Ausdrttck,  with 
animation,  and  with  feeling  and  ex- 
pression throughout. 

Ledger-line.     See  Leger-Une. 

Legan'do.     (It.)     See  Legato. 

Lega'to  (It.  ;  superl.  legatis'simo) 
^•-  "Bound";  a  direction  to  perform  the 
passage  so  marked  in  a  smooth  and 
connected  manner,  with  no  break  be- 
tween the  tones  ;  also  indicated  by  the 
legato-inark,  a  curving  line  drawn  over 
or  under  notes  to  be  so  executed... 
I^ga'tobogen  (Ger.),  legato-mark,  slur. 

Legatu'ra  (It  )  A  tie  ;  a  syncopation.. . 
■       '~L.  di^'OceyS&Q  Ligature  2. 

Le'gend.  (Ger.  I.egen'de  ;  Fr.  L'gende.) 
A  composition  based  .  on  a  poem  of 
lyrico-epic  character,  the  poem  serving 
either  as  text  or  program. .  .  Legen' den- 
ton,  im  (Ger.),  in  the  style  of  a  romance 
or  legend. 


L6ger,  l^g^re  (Fr.)     Light,  nimble.. 
LJgerement,  lightly,  nimbly. 

Leg'er-line.  (Ger.  Ililfs'linie;  Fr.  ligne 
ajoiitee;  It.  >'i'go  aggiiin'io  or  Jinto.) 
One  of  the  short  auxiliary  lines  used  for 
writing  notes  which  lie  above  or  below 
the  staff.  Leger-lines  are  counted  away 
from  the  staff,  either  up  or  down... 
Legtr-space,  a  space  bounded  on  either 
side  or  both  sides  by  a  leger-line. 

Leggerez'za  (It.)  Lightness,  swiftness. 
.  .Leggerinen'te,  lightly,  swiftly. .  .Leg- 
ge'ro,  same  as  Lcggiero. 

Leggiadramen'te.  (It.)  Neatly,  ele- 
gantlv,  gracefully.  .  .Z('f^_f^/a'(/rt',  neat, 
graceful,  elegant ;  in  '£  lif7?5'^Ild  cheer- 
ful  style. 

Leggieramen'te,  Leggiermen'te  (It.) 

Lightly,  swiftly.  .  .Leggie're,  light,  etc. 
.  .Leggierez'za,  lightness,  swiftness... 
Leggie'yo,  a  direction  indicating,  in 
piano-technic,  that  the  passage  is  to  be 
performed  with  as  great  lightness  as  is 
consistent  with  the  degree  of  loudness 
required  ;  generally  in  swift  piano  pas- 
sages with  little  rhythmical  emphasis. 
It  differs  from  Legato  in  calling  for  a 
mere  down-stroke  of  the  fingers  without 
pressure,  and  with  a  quick,  springy  re- 
coil. . .  L.  con  vioto,  lightly  and  swiftly. 

Le'gno,  col  (It.)  "\Yith  the  stick"  ;  in 
violin-playing,  a  direction  to  let  the 
stick  of  the  bow  fall  on  the  strings. 

Leicht(Ger.)  i.  Light,  brisk. — 2.  Easy, 
facile.  .  .Leicht  bewegt,  (a)  leggiero  con 
moto  ;  (b)  with  slight  agitation. 

Lei'dejischaftjXier.)  Passion,  fervency, 
veHemence.  .  .J///  Z.,  or  lei' dense haft- 
lich,  passionately,  vehemently. 

Lei'er  (Ger.)  Lyre;  L. hasten,  hand-organ. 

Lei'se  (Ger.)     Low,  soft,  piano. 

Lei'ter  (Ger.,  "ladder".)  Scale  {Ton'- 
leiter).  .  .  Lei'tereigen,  proper  or  belong- 
ing to  the  scale. .  .Lei'terfremd,  foreign 
to  the  scale. 

Leit'motiv[-teef"]  (Ger.)  Leading-mo- 
tive ;  a  term  brought  into  special  prom- 
inence by  Wagner's  musical  dramas, 
and  applied  to  any  striking  mus.  motive 
(theme,  phrase)  characteristic  of  or 
accompanving  one  of  the  persons  of  the 
drama  or  some  particular  idea,  emotion, 
or  situation  in  the  latter  ;  the  motive 
recurring  reminiscently  at  suitable  stages 
of  the  action ...  Also  used  of  similar 
motives  in  recent  operas,  oratorios,  and 
program-music. 


LEITTON— LIP. 


"3 


Leit'ton  (Ger.)     Leading-tone. 

Lenez'za,  con  (It.)  In  a  gentle,  quiet 
manner. 

Le'no  (It.)     Faint,  feeble. 

Lent,-e  (Fr.)  Slow. .  .Lentement,  slowly. 
.  .  Lenteur,  slowness. 

Len'to  (It.)  Slow  ;  a  tempo-mark  inter- 
mediate between  Andante  and  Largo 
(comp.  art.  Tempo-mark).  Also  used 
as  a  qualifying  term,  as  Adagio  non 
lento. .  .Lentamen'te,  slowly. .  .Leutan'- 
do,  growing  slower,  retarding  ;  a  direc- 
tion to  perform  a  passage  with  increas- 
ing slowness  {ritardando,  rallentando). 
.  .Lefitez'za,  con,  slowly,  deliberately. 

Lesser.  Minor;  as  the  lesser  third... 
Lesser  appoggiatura  ,s\\ort2i^'pogg\2itVLra.. 
..Lesser  whole  tone,  see  Intervals, 
Table  III,  foot-note. 

Lesson.  (Fr.  lecon.)  In  the  17th  and 
1 8th  centuries,  the  name  of  the  several 
pieces  for  the  harpsichord,  etc.,  which, 
when  combined,  formed  a  Suite. 

Le'sto  (It.)     Lively,  brisk. 

Letter-name.  A  letter  used  to  desig- 
nate a  tone,  note,  key,  or  staff-degree. 
See  Alphabetical  notation. 

Lev6  (Fr.)     Up-beat. 

Ley'er  (Ger.)     Earlier  spelling  of  Leier. 

Liaison  (Fr.)  I.  A  tie. — 2  {liaison 
d'harmonie).  A  syncopation. — 3.  See 
Ligature  2. 

Libel'lion.  An  automatic  music-box, 
distinguished  by  the  feature  that  the 
notes  are  represented  by  perforations  in 
sheets  of  tough  cardboard,  which  (as 
ihty pass  through  the  box)  can  be  made 
continuous,  so  that  compositions  of  any 
desired  length  may  be  performed. 

Liberamen'te  (It.),  Librement  (Fr.) 
Freely. 

Libret'tist.  A  writer  of  libretti. .  .Z?- 
brefto  (It.,  pi.-/.  ;  Fr.  ditto,  or  livret ; 
Ger.  Text).  A  "booklet";  specifically, 
one  containing  the  words  of  an  opera, 
oratorio,  etc.  ;  also  such  words  or  text, 
whether  in  book-form  or  not  ;  a  book. 

License.  (Ger.  Frei'heit ;  Fr.  licence  ; 
It.  licen'za.)  An  intentional  deviation 
from  established  custom  or  rule. . .  Con 
alcu'no  licenza  (It.),  with  a  certain 
freedom. 

Lice'o  (It.)     Academy  (of  music). 

Lich'anos  (Gk.)  See  Lyre  i. 

Li6  (Fr.)     Tied  ;  legato. 


Lieb'lich  (Ger.)  Lovely,  sweet,  charm- 
ing ;  often  with  names  of  organ-stops. 

Lied  (Ger.)  Song. — A  preeminently  Ger- 
man song-form  is  that  of  the  durch'- 
koniponiertes  Lied,  which  differs  from 
the  ballad  {Stro'phenlied)  in  not  repeat- 
ing the  same  melody  for  each  stanza, 
but  following  closely  the  sense  of  the 
words  by  changing  melody,  harmony, 
♦and  rhythm. .  .A'^^wi/'/zdv/,  Volks'lied, 
Volks'  t{h)iimliches  Lied,  see  those 
words..  .Lie'dercyclus,  a  cycle  (set)  of 
songs. .  .Lie' derkra7iz,  (a)  a  choral  so- 
ciety ;  (6),  also  Lie'derkreis,  a  set  or 
series  of  songs..  .Lie'derspicl,  see  Vau- 
deville.. .Lie'dertafel,  a  singing-society 
of  men,  of  a  social  character. .. ZjV^/'- 
f or  1)1,  see  Form. 

Liga'to  (It.)     Legato. 

Lig'ature.  (Ger.  Ligatur'  ;  Fr.  ligature; 
It.  legatu'ra.)  I.  In  mensurable  music, 
a  connected  group  of  notes  to  be  sung 
to  one  syllable.  Ligatures  were  de- 
rived from  the  compound  neumes  ;  their 
simplest  form  is  the  Figura  obliqua 
(q.  v.)  (Comp.  Proprieias,  Imptvprietas, 
Perfection,  Imperfection.) — 2.  In  mod- 
ern music,  a  group  or  series  of  notes  to 
be  executed  in  one  breath,  to  one  syl- 
lable, or  as  a  legato  phrase. — 3.  A  tie  ; 
hence,  a  syncopation. 

Ligne  (Fr.)  A  line..  .Ligne ajout^e  {pas- 
tiche, or  supple  me  ntaire),  a  leger-line. 

Li'mite  (It.)     Limit. 

Lim'ma.     See  Apotome. 

Li'nea  (It.)    A  line. 

Lin'gua.     (It.)     Reed  (of  organ-pipe). 

Lingual'pfeife  (Ger.)  Reed-pipe  (usu- 
ally Zitng'eiipfeife). 

Li'nie  (Ger.)  h.\\xvQ.  .  .Li'niensystem, 
the  staff. 

Linings.  (Ger.  Fiit'terung;  Fr.  contre- 
/clisses.)  In  the  violin,  etc.,  the  strips 
of  pine-wood  glued  inside  the  body  to 
the  ribs,  to  stiffen  the  fixed  structure. 

Lin'ke  Hand  (Ger.)     Left  hand. 

Lip.  I.  (Ger.  Lip'pe  or  [Lat.]  La'bium, 
pi.  La'bien ;  Fr.  biseaii  [upper  lip].) 
The  lips  of  a  flue-pipe  are  the  flat 
surfaces  above  and  below  the  mouth, 
called  the  upper  and  lower  lip.  See 
Pipe  2,  a. — 2.  (Ger.  An'salz ;  Fr.  em- 
bouchure ;  It.  imboccatu'ra.)  The  art 
or  faculty  of  so  adjusting  the  lips  to  the 
mouthpiece  of  a  wind-instr.  as  to  pro- 
duce artistic  effects  of  tone  ;  also  lipping 


114 


LIPPENPFEIFE— LUR. 


Lip'penpfeife  (Ger.)  Flue-pipe  (usually 
Labialpfeife). 

Li'ra  (It.)  Lyre  (see  Lyre). — AVhile  the 
ancient  lyre  was  a  harp-like  instr.,  the 
lira  of  the  l6th-i8th  century  was  a 
species  of  viol,  a  bow-instr.  with  a 
varying  number  of  strings,  and  made  in 
3  principal  sizes... Z.  barberi'na,  a 
small  lyre  inv.  by  Doni  of  Florence  in 
the  17th  century. .  .L.  da  brac'cio, 
"arm-lyre",  a  bow-instr.  first  mentioned 
in  the  gth  century,  and  appearing  in 
the  15th  as  an  instr.  resembling  the 
viol  in  form  of  head  and  in  stringing, 
though  in  other  points  (and  finally  in 
the  adoption  of  4  strings)  like  the  vio- 
lin (see  art.  Violin,  foot-note)..  .L.  da 
gatn'ba,  knee-lyre..  .L.  tede'sca,  hurdy- 
gurdy. 

Li'rico,-a  (It.)    Lyric,  lyrical. 

Liro'ne  (It.)  The  great  bass  lyre  (also 
Accor'do,  Archivio'la  di  lira),  with  as 
many  as  24  strings. 

Li'scio  (It.)     Smooth,  flowing. 

L^tes_'sp._  See  Istesso. 
-  titany.'  (Gk.  Utanei'a  ;  Lat.  and  It.  li- 
iani'a;  Fr.  (pi.)  litanies;  Ger.  Litanei'.) 
A  song  of  supplication;  "a  solemn 
form  of  prayer,  sung,  by  priests  and 
choir,  in  alternate  invocations  and  re- 
sponses, and  found  in  most  Office- 
books,  both  of  the  Eastern  and  West- 
ern Church  "  [Grove].  Litanies  were 
originally  employed  in  processional 
supplications  for  averting  pestilence 
and  other  dangers,  and  later  adopted 
by  the  Church  as  portions  of  the  reg- 
ular service  at  certain  seasons. 

Lit'terae  significati'vae  (Lat.)  Single 
letters,  or  abbreviations,  of  doubt- 
ful significance,  employed  in  medie- 
val neumatic  notation.  (Ger.  Roma'- 
nusbuchstaben.) 

Liu'to  (It.)     A  lute. 

Livre  (Fr.)  Book...^  livre  oiivert,2X 
sight. 

Livret  (Fr.)     Libretto. 
pLo  (It.)     The. 

Lob'gesang  (Ger.)  Song  or  hymn  of 
praise. 

Loch  in  der  Stimme  (Ger.)  "Hole 
in  the  voice  "  ;  said  of  that  part  of  a 
register  in  which  certain  tones  cannot 
be  made  to  "speak"  on  account  of  a 
morbid  state  of  the  vocal  organ. 

Lo'co  (It.)     Place  ;   signifies,    following 


8va,  "perform  the  notes  as  written". 
Also  al  loco. 

Lo'crian.     (Ger.  lo'krisck.)     See  Mode. 

Long.  (}^3X.  longa.)  Ste  A''ola(ion,%2'< 
also  for  Long-rest. 

Lonta'no  (It.)  Distant ...  Z>fl  /.,  or  in 
lonla/mn'za,  from  a  distance,  far  away. 

Loop.  I.  A  vibrating  portion  of  a 
body,  bounded  by  2  nodes.  See  A'ode. 
— 2.  The  cord  fastening  tailpiece  to 
button  (violin,  etc.) 

Lo'sung,  fort'schreitende  (Ger.)  Reso- 
lution (usually  Auf'losung). 

Loud  pedal.     Damper-pedal. 

Loure  (Fr.)  i.  An  ancient  Fr.  bagpipe 
inflated  by  the  mouth  ;  hence — 2.  A 
dance  named  from  the  instr.,  on  which 
it  was  formerly  played,  in  6-4  or  3-4 
time  and  slow  tempo,  the  down-beat 
strongly  marked. 

Lour6  (Fr.)  Slurred,  legato,  non  staccato. 
Lo'W.  I.  (Ger.  lei'se ;  Fr.  douce;  It. 
-'  pia'no.)    Soft,  not  loud. — 2.  (Ger.  tief ; 

Fr.    bas,-se ;    It.    basso, -a.)     Grave   in 

pitch,  not  acute. 
Lugu'bre  (Fr.  and  It.)     Mournful. 
Lullaby.     Cradle-song,  berceuse. 

Lun'ga  (It.)  Long.  Written  over  or 
under  a  hold,  it  signifies  that  the  latter 
is  to  be  considerably  prolonged. .  .Lun- 
ga  pa'usa,  a  long  pause  or  rest. — Lun- 
ghe  (pi.  of  lunga),  drawn  out,  pro- 
longed ;    "note"  (notes)  being  implied. 

Luo'go  (It.)     Same  as  Loco. 

Lur  (Danish,  from  Old  Norse  hcdr,  a 
hollowed  piece  of  wood.)  i.  A  unique 
pre-historic  wind-instr.  of  bronze  (alloy 
of  copper  88.90^,  tin  10.61;*,  nickel 
and  iron  0.49'?),  numerous  well-pre- 
served specimens  of  which  have  been 
found,  but  only  in  Denmark,  southern 
Sweden,  and  Mecklenburg.  The  long, 
slender,  exactly  conical  tube,  varying 
in  length  from  5  ft.  to  7  ft.  9^  in., 
forms  a  sweeping,  graceful  curve  (for- 
ward from  the  player's  lips,  upward 
and  backward  over  his  left  shoulder, 
and  forward  again  over  his  head),  and 
terminates  with  a  broad  circular  flat 
plate  (about  loin,  in  diam.)  in  lieu  of 
a  flaring  bell.  This  plate  is  ornamented 
with  bosses  in  front,  and  on  the  rear 
with  several  small  bronze  tassels,  de- 
pending loosely.  The  Lur  has  a  cupped 
mouthpiece,  shallower  and  more  nearly 
V-shaped  than  that  of  the  trombone. 


LUSINGANDO-MACHETE. 


115 


The  tone  is  powerful  and  mellow. — 2. 
The  modern  Litr,  of  Norway  and  Swe- 
den, is  usually  made  of  birch  bark,  and 
is  allied  to  the  Swiss  alp-horn. 
Lusingan'do,  Lusingan'te  (It.)   Coax- 
ing,   caressing;    also   lusinghe'vole. . . 
Lusinghevolmcn'te,    coaxingly,    etc... 
Ltcsinghie're,  or  -0,  coaxing,  flattering, 
seductive. 
Lus'tig  (Ger.)   Merry,  gay  (also  adverb). 
Lute,  {Cjtr.Laii'te  ;  Fr.  hith  ;  It.  liu'to.) 
A  stringed  instr.,  now  obsolete,  of  very 
ancient  origin  ;    it  was  brought  to  Eu- 
rope by  the  Moors,  who  called  \\.Al'  tid 
or  Al  OW.  ..The  body  has   no  ribs, 
the  back  being,  like  that  of  the  mando- 
lin, in  the  vaulted  shape  of  half  a  pear. 
The  strings,  attached  to  a  bridge  fixed 
on  the  face  of  the  instr.,  and  passing 
over  or  beside  the  fretted  fingerboard, 
were  plucked  by  the  fingers,  and  varied 
in  number  from  6  up  to  13,  the  highest 
or  melody-string  {treble,    canto)   being 
single,  and  the  others  in  pairs  of  uni- 
sons.    Bass  strings  off  X\v&  fingerboard, 
each  yielding  but  one  tone,  were  gener- 
ally attached  to  a  second  neck  ;    they 
were  in  later  times  covered  with  silver 
wire,    the   other  strings  being  of   gut. 
These  bass  strings  were  introduced  in 
the  i6th  century,  and  led  to  divers  modi- 
fications in  the  build  of  the  instr. ;  the 
various  forms  of    large  double-necked 
lutes  then  evolved  (theorbo,  archiliuto, 
chitarrone)  being  general  favorites,  and 
holding,  from  the  15th  to  the  17th  cen- 
tury, the  place  in  the  orchestra  now  oc- 
cupied by  the  bass  violins.     Music  for 
the  lute  was  written  in  tablature,  there 
being  3  systems  (French,  Italian,  and 
German)... A  lute-player   is   variously 
called  a  lutenist,  lutanist,  lutinist,  and 
I  litis  t. 
Luth  (Fr.)     l^Mic... Lutherie,  the  trade 
of,  and   also   the   instr.s   made    by,    a 
bithier.  ..Ltithier,    formerly,    a    lute- 
maker  ;  now,  a  maker  of  any  instr.  of 
the  lute  or  violin  class. 
Luttuo'so  (It.)     Mournful,  plaintive. .  . 

Liittuosamen'te,  mournfully,  etc. 
Lyd'ian.  (Ger.  ly'disch.)  See  Mode. 
Lyre.  i.  (Gk.  and  Lat.  ly'ra;  It.  li'ra;  Fr. 
lyre;  Ger.  Lei'er.)  A  stringed  instr.  of 
the  ancient  Greeks,  of  Egyptian  or 
Asiatic  origin.  The  frame  consisted  of 
a  soundboard  or  resonance-box,  from 
which  rose  2  curving  arms  joined  above 
by  a  cross-bar  ;  the  strings,  from  3  to 


10  in  number,  were  stretched  from  this 
cross-bar  to  or  over  a  bridge  set  upon 
the  soundboard,  and  were  plucked  with 
a  plectrum.  The  names  of  the  strings 
(whence  were  derived  the  names  of  most 
of  the  tones  in  the  Greek  modes)  on  the 
8-stringed  lyre  were  as  follows  : 

Hyp' ate,    "uppermost"    (as   the   lyre  was 
held)  ;  the  longest  and  deepest-toned. 
Parhyp'ate,  "  next  to  hypate^\ 
Lich'anos,  "forefinger-string  '. 
Me'se,  "  middle  string", 
/'arawir'i^,  "  next  to  Mese". 
Tri'te,    "third    string"    (from   the    lower 

Parane'te,     next  to  the  last    • 
]\fe'te,  "  last,"  or  "  lowermost     (the  high- 
est in  pitch). 

The  KitJiara  may  be  considered  as  a 
large  form  of  the  lyre,  the  Chelys  as  a 
treble  lyre.— The  lyre  differed  from  the 
harp  in  having  fewer  strings,  and  from 
the  guitar,  lute,  etc.,  in  having  no  fin- 
gerboard ;  its  compass  and  accordatura 
varied  greatly.     It  was  chiefly  used  to 
accompany  songs  and   recitations.— 2. 
An  instr.  used  in  military  bands,  con- 
sisting of  loosely  suspended  steel  bars 
tuned  to   the   tones   of   the   scale  and 
struck  with  a  hammer.— 3.    See  Rebec. 
Lyric,  lyrical.     Pertaining  to  or  proper 
for  the  lyre,  or  for  accompaniment  on 
(by)  the  lyre  ;  hence,  adapted  for  singing 
or  for  expression  in  song. — The  term  is 
applied  to  music  and  songs  (or  poerns) 
expressing  subjective  emotion  or  special 
moods,  in  contradistinction  to  epic  (nar- 
rative), and   draf?iatic  (scenic,  accom- 
panied by  action) ...  ZjrzV  drama,  the 
opera. .  .Lyric  opera,  one  in  which  the 
expression  of  subjective  feeling,  and  the 
lyric   form   of  poetry,  predominate... 
Lyric  stage,  the  operatic  stage. 

M. 

M.  Abbr.  of  It.  7na7io,  and  Fr.  main, 
(hand)  ;  in  organ-music,  of  manual 
(usually  Man.),  and  Lat.  manua' liter ; 
and  of  metronome  (usually  M.  M.)  and 
7nezzo. .  .n  represents  the  note  me  (mi) 
in  Tonic  Sol-fa  notation. 

Ma  (It.)  But ;  as  in  the  phrase  vivace, 
ma  non  troppo,  lively,  but  not  too  much 
so. 

Machete.  A  small  Portuguese  guitar  (oc- 
tave-guitar), having  4  strings  tuned  : 


or  sometimes  d'^  instead  of  e^. 


ii6 


MACHINE-HEAD-MANDOLIN. 


Machine-head.  (Ger.  Mecha'tiik.)  A 
rack-and-pinion  adjustment  substituted 
for  the  ordinary  tuning-pegs  of  the 
double-bass,  the  guitar,  and  of  the  mel- 
ody-strings of  the  zither. 

Ma'dre,  al'la  (It.)  "  To  the  Mother  "  ; 
a  superscription  of  hymns  to  the  Virgin. 

Mad'rigal.  (Ger.  and  Fr.  Madrigal' ; 
It.  madriga'le,  madria'U\  mandria' le.) 
Originally,  a  short  lyrical  poem  of  an 
amorous,  pastoral,  or  descriptive  char- 
acter.—  Hence,  a  poem  of  this  kind  set 
to  music,  which  is  polyphonic,  with  in- 
cessant contrapuntal  variations,  and 
based  (in  the  stricter  style)  on  a  cantus 
firmiis  ;  it  is  without  instrumental  ac- 
companiment, and  differs  from  the 
Motet  in  being  of  a  secular  cast.  This 
style  of  composition  appears  to  have 
had  its  rise  in  the  Low  Countries  to- 
wards the  middle  of  the  15th  century, 
spreading  thence  to  other  European 
States,  and  cultivated  with  peculiar  suc- 
cess in  Italy  and  England  well  into  the 
i8th  century  ;  in  England  the  Madrigal 
Society  still  flourishes.  Madrigals  are 
written  in  from  3  to  8  or  more  parts, 
and  are  best  sung  by  a  chorus,  which 
feature  forms  one  of  the  chief  distinc- 
tions between  the  M .  and  the  Glee  (for 
solo  voices). 

Maesto'so  (It.)  Majestic,  dignified... 
MaeslcY  {coii),Maesta'dc'  {con),  Maest/- 
vole,  Maestcvolmoi'te,  Maestosanicn'te, 
with  majesty  or  dignity,  majestically. 

Maestra'le  (It.)  Occasional  term  for 
the  stretto  of  a  fugue,  when  in  canon- 
form. 

Maestri'a  (It.)  Mastership,  skill,  virtu- 
osity. 

Mae'stro  (It.)  A  master. .  .M.  al  ccin'- 
balo,  term  formerly  applied  to  the  con- 
ductor of  an  orchestra,  who  sat  at  the 
harpsichord  instead  of  wielding  the 
baton. .  .J/,  deiput'ii,  "master  of  the 
boys",  i.  e.,  the  choir-master  of  St. 
Peter's  at  Rome...i5/.  delco'ro,  choir- 
master. .  .y3/.  di  canlo,  singing-master. 
.  .M.  di  cappel'la,  {17)  choir-master  ;  (/') 
conductor;  (c)  KapcU'meisier  (conduc- 
tor of  chorus  and  orchestra). 

Mag'adis  (Gk.)  An  ancient  Greek  instr. 
with  20  strings  tuned  in  octaves  two  by 
two  ;  hence  the  term  mag'adize,  to  sing 
in  parallel  octaves,  as  boys  and  men. 

Ma'gas  (Gk.)  Bridge  (of  a  cithara  or 
lyre)  ;  fret  (of  a  lute). 


Magazin'balg  (Ger.)  Reservoir-bellows 
(organ). 

Maggiola'ta  (It.)     A  May  Song. 

Maggio're  (It.)     Major. 

Mag'got.  A  "fancie",  or  piece  of  an 
impromptu  and  whimsical  character. 

Magni'ficat.  Name  of,  and  first  word  in, 
the  "  Magnificat  anima  mea  dominum  " 
(my  soul  doth  magnify  the  Lord),  the 
hymn  or  song  of  the  Virgin  Mary  (Luke 
I,  46-55),  sung  in  the  daily  service  of 
the  Church. 

Main  (Fr.)  Hand . .  .M.  droite  {gauche), 
right  (left)  hand...  J/,  harmonique, 
harmonic  hand. 

Maitre  (Fr.)  Master. .  .y]/.  de  chapelle. 
Kapellmeister,  conductor. .  .Al.  de  viu- 
siijue,  (a)  conductor  ;  {l/)  music-master, 
teacher. 

Maitrise  (Fr.)  In  France,  prior  to  1789, 
a  music-school  attached  to  a  cathedral, 
for  the  education  of  young  musicians, 
who  were  called  en/ants  de  chcciir.  Some 
few  were  reestablished,  and  still  exist. 

Majesta'tisch  (Ger.)     Majestical(Iy). 

Major.  {Ger.  dur  ;  Yr.  majeur  ;  \t.  mag- 
gio're.) Lit.  "  greater",  and  thus  opp.  to 
minor,  "  lesser."  (Comp.  Phone,  Inter- 
val.). .  .Major  cadence,  one  closing  on  a 
major  triad .  .  .  M.  chord  or  triad,  one 
having  a  major  third  and  perfect  fifth. 
..M.  interval,  key,  mode,  scale,  tonal- 
ity, see  the  nouns. .  .AI.  7vhole  tone,  the 
greater  \^\\o\c  tone  8:9  (as  c-d)\  opp. 
to  the  lesser  (or  minor)  whole  tone  9:10 
(as  d-e). 

Malinconi'a  (It.)  Melancholy. ..  C(^« 
V!.,  with  melancholy  expression,  deject- 
edly {txIso  malinconicamen'te) .  .  .Malin- 
co'nico  {-nio'so,  -tio'so),  melancholy, 
dejected. — Also  Melanconi'a,  etc. 

Mancan'do  (It.)  Decreasing  in  loud- 
ness, dying  away,  decrescendo  ;  usually, 
a  combination  of  decrescendo  and  ral- 
lentando  is  intended  (v.  Tempo-mark). 

Manche  (Fr.)     Neck. 

Mando'la  (It.)  A  large  variety  of  Man- 
dohn. 

Man'doHn(e).  (It.  mandoli'no.)  An  instr. 
of  the  lute  family,  the  body  shaped  like 
that  of  a  lute,  though  smaller,  having 
wire  strings  tuned  pairwise,  played  with 
a  plectrum,  and  stopped  on  a  fretted 
fingerboard.  There  are  2  chief  varie. 
ties,  (l)  the  Neapolitan  {mandolino 
fiapolita'no),  which  has  4  pairs  of  strings 
tuned^'^-(/'-a'-(f^  like  those  of  the  violin  ; 


MANDOLINATA— MASCHINEN. 


117 


and  (2)  the  Milanese  {inand.  lombar'do), 
which  has    5  or   (j  pairs, 
tuned     g~c^-a^-iP-c^     ^^"^  r-t 
g-b-e^-a^-d'^-e').     Com-g 
pass     about     3    octaves : 

Mandolina'ta  (It.)  A  piece  for  mando- 
lin, or  played  with  mandolin-efTect. 

Mando'ra,  Mando're.  Same  2&Matidola. 

Ma'nico  (It.)  Neck  (of  a  lute, violin,  etc.1 

Man'ichord.  (Lat.  »ia)tic/ior'dii/in.)  A 
term  variously  applied  to  different  forms 
of  obsolete  keyboard  stringed  instr  s. 

Manier'  (Ger.)  An  agrenient  (harpsi- 
chord- or  clavichord-grace). 

Manie'ra  (It.)  Style,  manner,  method. 
.  .  Con  dcke  in.,  in  a  suave,  delicate 
style. 

Manifold  fugue.     See  Fugue. 

Man'nerchor  (Ger.)  A  male  chorus  ; 
also,  a  composition  for  such  a  chorus. 
,  .  JM iiii' nergesangverei II ,  men's  choral 
socltty..  .Mdnnerstimtiien,  men's  voices. 

Ma'no  (It.)  Hand. .  .M.  de'stra  {sini'- 
sira),  right  (left)  hand. 

Man'ual.  i.  A  digital. — 2.  (Ger.  Ma- 
nual';  Fr.  clavier ;  It.  7namta'le?)  An 
organ-keyboard  ;  opp.  to  pedal.  (Com- 
pare Organ.). .  .Manual-key,  a  digital. 
. . 3/anual' koppel  {Ger.),  a  coupler  con- 
necting 2  manuals. 

Manu'brium  (Lat.)  Knob  of  a  draw- 
stop  ;  Ger.  pi.  Manu'brien,  whence 
Manu'brienkoppel,  draw-stop  coupler. 

Marcan'do  (It.,  "  marking".)  ^  ys\\.\\  dis- 

Marca'to  (It.,  "marked".)  [tinctness 
and  emphasis.  .  .yl/(?;'<:(7//j-'j/;«o,  with 
very  marked  emphasis. 

March.  (Ger.  Marsch ;  Fr.  marche  : 
It.  mar'cia)  A  composition  of  strongly 
marked  rhythm,  suitable  for  timing  the 
steps  of  a  body  of  persons  proceeding 
at  a  walking  pace,  and  thus  bearing  a 
processional  character  akin  to  that  of 
the  Polonaise,  Entree,  etc.  The  march- 
form  of  the  earlier  operas  and  clavier- 
pieces  also  resembles  that  of  the  old 
dances,  consisting  of  2  reprises  of  8, 
(12),  or  16  measures.  The  modern 
march-form  is  further  developed  ;  it  is 
in  4-4  time,  with  reprises  of  4,  8,  or  16 
measures,  and  is  followed  by  a  Trio 
(usually  in  the  dominant  or  subdom- 
inant  key  and  of  a  more  melodious 
character),  after  which  the  march  is 
repeated,  often  with  amplifications. — 
The    ordinary    Parade    March    (Ger. 


Para'demarsch  ;  Fr.  Pas  ordinaire)  has 
about  75  steps  to  the  minute  ;  the  Quick- 
step (Ger.  Geschwind'inarsch ;  Fr.  Pas 
redouble'),  about  108  ;  while  for  a  Charge 
(Ger.  Sturm' mar  sell;  Fr.  Pas  de  charge) 
some  1 20  steps  per  minute  are  reckoned. 
.  .Besides  these  military  marches  of  a 
bright  and  martial  character.  Funeral 
or  Dead  Marches  are  composed,  slower 
in  movement  and  more  solemn  in  effect, 
and  sometimessymphonically developed. 

Marche  (Fr.)  i.  A  march. — 2.  Pro- 
gression . .  .  Marcher,  to  progress. 

Mar'cia  (It.)  A  march ;  alia  m.,  in 
march-style. 

Mark.  (Oftenequiv.  to  jz^w.)  Cadence- 
viark,  the  vertical  line  separating  the 
words  of  a  chant,  dividing  those  sung 
to  the  reciting-note  from  those  in  the 
cudQ-ncG. .  .Harmonic  mark,  see  Har- 
monic 2,  b ..  .Metronomic  mark,  see 
Metronome. .  .Mark  of  expression,  see 
Expression-mark. .  .  Tempo-mark,  see 
that  word. 

Markiert'  (Ger.),  Marqu6  (Fr.)  Marked, 
accented  ;    marcato. 

Marseillaise.  The  French  revolution- 
ary hymn,  the  poem  of  which  was 
written  and  set  to  music  during  the 
night  of  April  24,  1792,  by  Rouget  de 
Lisle,  Captain  of  Engineers,  at  Strass- 
burg  ;  first  named  by  its  author  "  Chant 
de  guerre  de  I'armee  du  Rhin";  but, 
soon  after  its  introduction  in  Paris  by 
the  soldiers  of  Marseilles,  it  became 
universally  known  as  "  La  M.",  or 
"  Hymne  des  Marseillais  ". 

Marteau^FrJ     i.     Hammer  (of  pfte.- 

— atTTonJ^^2rTuning-hammer. 

MarteM(Fr.),  Martella'to  (It.)  "  Ham- 
mered"; a  direction  in  music  for  bow- 
instr.s,  indicating  that  the  notes  so 
marked  are  to  be  played  with  a  sharp 
and  decided  stroke  (usual  sign  ,•) ; — in 
piano-music,  that  the  keys  are  to  be 
struck  with  a  heavy,  inelastic  plunge  of 
the  finger,  or  (in  octave-playing)  with 
the  arm-staccato. .  .Martellato  notes 
are  generally  mezzo  staccato,  and  often 
take  the  sign  >  or  sfz. 

Martellement  (Fr.)  i.  In  harp-playing, 
calls  for  the  crush-note  (acciaccatu'ra) 
or  redoubled  stroke. — 2.  Comp.  Graces. 

Marzia'le  (It.)     Martial,  warlike. 

Maschera'ta  (It.)     Masquerade. 

Maschi'nen  (Cler.,  pi.)  See  Pistons. . . 
Maschi'nenpauken,    kettledrums    pro- 


Ii8 


MASK-MEDIUS. 


vided  with  a  mechanism  for  the  rapid 
adjustment  of  the  pitch. 

Mask,  Masque.  (Ger.  Mas'kenspicl ; 
Fr.  masijiie.)  The  mus.  dramas  called 
masques,  so  popular  during  the  i6th 
and  17th  centuries,  were  spectacular 
plays  on  an  imposing  scale  and  with 
most  elaborate  appointments,  the  sub- 
ject being  generally  of  an  allegorical 
or  mythological  nature,  and  the  music 
both  vocal  and  instrumental. — The 
masque  was  the  precursor  of  the  opera, 
but  was  distinguished  from  it  by  the 
lack  of  monody. 

Mass.  (Lat.  j?tis'sa;  It.  nies'sa;  Fr. 
and  Ger.  iMes'se.)  "  Mass"  is  derived 
from  missa,  in  the  phrase  "  Ite,  missa 
est  [ecclesia]  "  (Depart,  the  congrega- 
tion is  dismissed),  addressed,  in  the 
R.  C.  Church,  to  persons  in  the  congre- 
gation not  permitted  to  take  part  in  the 
communion  service,  the  IVIass  itself 
taking  place  during  the  consecration  of 
the  elements. — The  divisions  of  the 
musical  mass  are  (i)  the  Kyrie  ;  (2) 
the  Gloria  (inch  the  Gratias  agimus, 
Qui  tollis,  Quoniam,  Cum  Sancto  Spiri- 
tu)  ;  (3)  the  Credo  (inch  the  Et  incar- 
natus,  Crucifixus,  Et  resurrexit) ;  (4) 
the  Sanctus  and  Benedictus  (with  the 
Hosanna)  ;  (5)  the  Agnus  Dei  (incl.  the 
Dona  nobis).  It  has  passed  through 
very  various  phases,  from  the  simple 
unison  chant  of  Plain  Song  to  the  most 
elaborate  productions  of  late  medieval 
counterpoint,  with  a  transition  there- 
after to  the  severity  of  the  Palestrina 
epoch,  to  the  vocal  masses  in  8,  16,  or 
even  32  parts,  and  finally  to  the  grand 
mass  v/ith  full  chorus  and  orchestra 
{missa  sokm'nis).  .  .High  mass,  one 
celebrated  on  church  festivals,  accom- 
panied with  music  and  incense. .  .Loiu 
mass,  one  without  music. .  .  Missa  brev'- 
is,  short  mass  of  Protestant  churches, 
incl.  only  the  Kyrie  and  Gloria. 

Ma'ssig  (Ger.)     Moderate(ly). 

Mas'sima  (It.)  i.  The  maxim. — 2.  A 
whole  note. — 3  {adj.)  Augmented  (of 
intervals). 

Master-chord.  The  dominant  chord. . . 
Master-fugUi',  f uga  ricercata. .  .  Master- 
note,  \&2^d\ng-no\.&. .  .Mastersinger,  see 
Meis  ter  singer. 

Masure,  Masurek,  Masurka.  See 
Mazurka. 

Matelotte  (Fr.)  An  old  sailors'  dance 
resembling  the  hornpipe,  in  duple  time. 


Mat'ins.  The  music  sung  at  morning 
prayer,  the  first  of  the  canonical  hours. 

Maul'trommel  (Ger.)  Jew's-harp... 
Maul' iro)ninelklavier,  the  melodicon. 

Max'im.  i^^X.  max'ima.)  "^tt  Notation, 
§3,  Large. 

Mazur'ka.  A  Polish  national  dance  in 
triple  time  and  moderate  tempo,  with  a 
variable  accent  on  the  third  beat. 

Me.     For  mi  (Tonic  Sol-fa). 

Mean.  Former  name  for  an  inner  part 
(as  the  tenor  or  alto),  or  an  inner  string 
(of  a  viol) . . .  Mean  clef,  the  C-clef ,  as 
used  for  noting  the  inner  parts. 

Mean-tone  system.    See  Temperament. 

Measurable  music.    Mensurable  music. 

Measure,  i.  (Ger.  Takt;  Fr.  mesure; 
It.  niisu'ra.)  A  metrical  unit,  simple  or 
compound,  of  fixed  length  (time-value) 
and  regular  accentuation,  forming  the 
smallest  metrical  subdivision  of  a  piece 
or  movement ;  visibly  presented  by  the 
group  of  notes  or  rests  contained  be- 
tween two  bars,  and  familiarly  called 
a  "bar".  (Comp.  Tir)ie.) — 2.  Occa- 
sional for  tempo. — 3.  A  dance  having  a 
stately  and  measured  movement. — 
Measure-note,  a  note  indicated  by  the 
time-signature  as  an  even  divisor  of 
a  measure  ;  4  thus  indicates  that  each 
measure  has  3  quarter-notes,  and  a 
measure-note  is  then  a  quarter-note... 
Measure-rest,  see  Rest. 

M^canisme  (Fr.)  Technic  or  technique  ; 
mechanical  skill.      (It.  mecea?iismo.) 

Mecha'nik  (Ger.)  i.  A  mechanism  or 
mechanical  apparatus,  such  as  {a)  the 
pfte. -action  ;  (/')  the  machine-head  of  a 
guitar,  zither,  etc. — 2.  In  pfte. -playing, 
{a)  technique  ;  {l>)  specifically,  the  mere 
mechanical  action  of  the  fingers  and 
hand,  as  the  lift  and  down-stroke  of 
finger  or  wrist,  the  passing-under  of 
the  thumb,  etc. ;  often  carelessly  trans- 
lated by  mechanism. 

Mechanism.     See  Meehanik  2  b. 

Mede'simo  (It.)     The  same. 

Me'dial.     Proper  to  the  Mediant. 

Me'diant.  i.  (Ger.  and  It.  Median' te ; 
Fr.  mediante.)  The  third  degree  of  a 
scale. — 2.  In  medieval  music,  one  of 
the  3  pivotal  tones  of  a  mode,  situated 
as  nearly  as  possible  midway  between 
the  Final  and  Dominant,  and  ranking 
next  in  importance  to  the  latter. 

Me'dius.     See  Accentus  ecclesiastici. 


MEHR-MELOPIANO. 


"9 


Mehr  (Ger.)  \lor&.  .  .Mehr'chdrii::,  for 
several  (4-part)  choruses.  .  .Alehr'fach, 
manifold  ;  mehr'faches  Intervall' ,com- 
pound  interval  ;  aiehr'facher  K'a'non, 
a  canon  having  more  than  2  themes  ; 
mehr' father  Kon' trapunkt,  counter- 
point written  in  more  than  2  invertible 
parts  ;  mchr'fache  Stiin'me  (organ),  a 
compound  sXo^.  .  .Mehr'sti>7imig,  in 
several  parts  ;  polyphonic. .  .  Mchr'stim- 
migkcit  diirch  Bre'chmig,  apparent 
polyphony  obtained  (especially  on  the 
pfle.)  by  employing  broken  chords. 

Mei'ster  (Ger.)  Vi^.'sXt.x. .  .Mei'sterftige, 
fuga  nc^xc-ei\.2i.  .  .Mei'stersingcr  (or 
-Sanger),  in  Germany,  the  successors  of 
the  Min'ncsdnger  (Troubadours),  but, 
unlike  the  latter,  chiefly  artisans,  who 
formed  guilds  in  various  cities  for  the 
cultivation  and  propagation  of  their  art, 
the  stringent  rules  for  which  were  con- 
tained in  the  Tabtdatur' .  Their  poems 
were  founded  for  the  greater  part  on 
biblical  subjects  ;  the  musical  treatment 
was  apt  to  be  dry  and  prosaical. — They 
originated  about  the  14th  century  in 
Mainz,  reached  their  zenith  in  the  15th 
and  1 6th  centuries  (notably  under  Hans 
Sachs   of   Nuremberg),  and   thereafter 


Melancoli'a  (It.),  Melancholie  (Fr.) 
See  Malincolia. 

Melange  (Fr.)     A  medley,  pot-pourri. 

Melis'ma  (Gk.)  i.  A  melodic  ornament, 
fioritura,  grace  ;  colorature. — 2.  A  Ca- 
denza  \  .  .  .Melismat'ic,  ornamented, 
embellished  ;  said  of  vocal  or  instru- 
mental music  abounding  in  ornaments  ; 
also,  specifically,  melismatic  song,  that 
in  which  more  than  one  tone  is  sung  to 
a  syllable  ;  opp.  to  syllabic  song. 

Melo'deon.  The  original  American 
organs  were  called  melodeons  or  melo- 
diums.     (See  Reed-organ.) 

Melo'dia.  (Organ.)  A  variety  of  stopped 
diapason  nearly  resembling  the  Clara- 
bella. 

Melod'ic.  Pertaining  to  the  progression 
of  single  tones  ;  hence,  vocal,  as  a  melod- 
ic   interval. 

Melo'dica.  A  small  variety  of  pipe- 
organ  inv.  in  1770  by  Joh.  Andr.  Stein 
of  Augsburg,  having  a  tone  like  the 
Jliite  a  bee,  and  a  compass  of  but  3^ 
octaves.  It  was  used  ordinarily  to  play 
the  melody  to  a  harpsichord-  or  pfte.- 
accompaniment ;  hence  the  name.     An 


excellent  crescendo  and  decrescendo 
were  obtainable  by  varying  the  finger- 
pressure  on  the  keys. 

Melo'dico  (It.)     Equiv.  to  Caniando. 

Melo'dicon,  A  keyboard  instr.  inv.  by 
Peter  Rieffelsen  of  Copenhagen,  in 
1800,  in  which  the  tones  were  produced 
by  tuning-forks. 

Melo'dik  (Ger.)  Science  or  theory  of 
melody. 

Melo'diograph.     See  Melograph. 

Melo'dion.  A  keyboard  instr.  inv.  by 
y.  C.  Dietz,  of  Emmerich,  in  which  the 
tones  were  produced  by  vertical  steel 
bars  chromatically  graduated  ;  these 
bars  being  pressed  by  the  digitals 
against  a  rotating  cylinder.  Forte  was 
obtained  by  a  quicker,  piano  by  a  slow- 
er, rotation.      Compass,  5^-6  octaves. 

Melo'dium.  i.  Melodeon. — 2.  (Ger.) 
Alexandre  organ. 

Merodrama.  i.  Originally,  a  musical 
drama. — 2.  In  modern  usage,  {a)  stage- 
declamation  with  a  mus.  accomp.  ;  {h)  a 
form  of  the  drama  in  which  the  music 
plays  a  very  subordinate  part,  and  the 
plot  is  more  or  less  romantic  and  sen- 
sational. 


decayed  gradually,  the  last  society  be-r^,     ^'^'-luuai. 
coming  extinct  in  1839  (Ulm).  V^el'ody.     (Ger.  Melodic  ;  Fr.  m^lodie ; 

..,       .      ^      T\/r'i        1,    I-       /p    \         It.  melodi'a.)     I.   The  rational  progres- 


sion of  single  tones  ;  contrasted  with 
Harmony,  the  rational  combination  of 
several  tones. — 2.  The  leading  part  in 
a  movement,  usually  the  soprano. — 3. 
An  air  or  tune. 

Mel'ograph.  Name  of  various  mechan- 
ical devices  for  recording  the  music 
played  on  a  pfte.  One  of  the  latest  and 
most  successful  is  the  electric  m.  or 
Phonautograph  (inv.  by  Fenby,  in  Eng- 
land), in  which  the  pressure  on  the 
digitals  closes  an  electric  circuit,  effect- 
ing a  record  on  paper  as  in  the  Morse 
system  of  telegraphy.  A  cardboard 
stencil  forming  an  exact  copy  of  the 
record  can  be  made  to  reproduce  the 
music  when  placed  in  the  Melotrope,  a 
mechanical  attachment  to  a  pfte.  by 
means  of  which  the  digitals  are  depress- 
ed as  if  by  the  player's  fingers. 

Merophone.     A  variety  of  Concertina. 

Melopian'o.  A  pfte.  inv.  by  Caldera 
of  Turin,  in  1870,  in  which  the  tone  is 
sustained  by  rapidly  repeated  blows  of 
small  hammers  attached  to  a  bar  pass- 
ing over  and  at  right  angles  to  the 
Strings,  the  bar  being  kept  in  vibration 


MELOPLASTE— METER. 


by  means  of  a  treadle  worked  by  the 
player.  Crescendo  and  decrescendo  effects 
are  producible  at  will,  and  the  tone  is  of 
delightful  quality. 

Meroplaste,  A  simplified  method  for 
learning  the  rudiments  of  music,  inv. 
by  Pierre  CJalin  about  iSi8.  Instead  of 
teaching  the  notr;s,  clefs,  etc.,  at  first, 
he  took  merely  the  5  lines  of  the  staff, 
singing  familiar  airs  to  the  syllables  do, 
re,  »ii ,  etc.,  at  the  same  time  showing 
with  a  pointer  the  position  on  the  staff 
of  the  notes  sung.  F'or  teaching  rhyth- 
mical relations  he  used  a  double  metro- 
nome marking  both  measures  and  beats. 

Me'los  (Gk.)  "Song".  The  name  be- 
stowed by  Wagner  on  the  style  of  reci- 
tative exemplified  in  his  later  mus. 
dramas.      (See  Kecitative.) 

Mel'otrope.     See  art.  Melograph. 

Meme  (Fr.)  The  same..../  la  tneme, 
I'istesso  tempo. 

Men.     Abbr.  of  I\Ieno. 

M6nestrel  (Fr.)     Minstrel  (q.  v.) 

M6netrier,-tri^re  (Fr.)  Originally,  a 
player  on  any  instrument,  especially  for 
dancing ;  now,  a  vagabond  fiddler  at 
fairs  and  in  low  places  of  entertain- 
ment, or  a  village  musician. 

Me'no  (It.,  abbr.  ;«^«.)  Less,  not  so. — 
When  Meno  occurs  alone  as  a  tempo- 
mark,  niosso  is  implied ...  J/t"//^  mosso, 
"  less  moved,"  i.  e.,  slower. 

Mensur'  (Cer.)  i.  Jl/eytsit'ra,  i.  e.  the 
time  of  a  movement  (mensurable  music). 
— 2.  Scale  (of  organ-pipes). — 3.  In 
other  instr.s,  the  various  measurements 
requisite  for  their  true  intonation  (as 
length  of  tube,  distance  between  finger- 
holes,  thickness  of  strings,  etc.) 

Mensural'gesang.-musik  (Ger.)  Men- 
surable music.     (See  Notation,  §3.) 

Men'te  (It.)     Mind,  memory;    alia  m., 
improvised,  extempore. 
\     Menuet  (Fr.),  Menuett'  (Ger.)   Minuet. 

Me'rula  (Lat.,  "blackbird,  ousel".) 
Same  as  /  'o'gelgesang. 

Mescolan'za  (It.)    A  medley. 

Mes'otonic.     Mean-tone. 

Mes'sa  (It.),  Mes'se  (Ger.  and  Fr.) 
Mass. 

Mes'sa  di  vo'ce  (It.)  The  attack  of  a 
sustained  vocal  \ox\&  pianissimo,  with  a 
swell  to  fortissimo,  and  slow  decrease 
to  pianissimo  again  ;  thus  : 


The  attack  and  increase  was  formerly 

caWtd  for  ma' re  il  tuono  ;  the  sustaining 
of  they/ tone,  ferma're  il  tuono  ;  and 
the  decrease  and  close,  Jini're  il  tuono. 

Messan'za  (It.)     A  quodlibet. 

Me'sto  (It.)  Pensive,  melancholy... 
Afestamen'te,  plaintively,  grievingly. 
(Also  con  ?nesti'zia.) 

Mesure  (Fr.)  Measure  ;  a  measure  ;  & 
la  m.,  in  time  (i.  e.  a  tempo,  a  battu'ta). 
..Alesitre',  measured. — (See  Time.) 

Metal'lo  (It.,  "metal".)  A  ringing, 
"metallic"  quality  of  voice. 

MetalTophone.  A  pfte.  in  which 
graduated  steel  bars  take  the  place  of 
strings. — 2.  An  instr.  like  the  xylo- 
phone, but  with  bars  of  metal  instead 
of  wood. 

Meter,  Metre.  i.  Metre  in  music  is 
the  symmetrical  grouping  of  musical 
rhythms  ;  a  disposition  of  musical  mem- 
bers akin  to  the  arrangement  of  the 
poetic  strophe.  It  differs  from  Form 
in  having  to  do  merely  with  the  rhyth- 
mical groupings  within  compositions  ; 
from  Rhythm,  in  treating  of  the  sym- 
metrical arrangement  of  the  smaller 
tone-groups,  the  articulation  of  which 
produces  the  rhythm  or  time.  These 
definitions  are,  however,  not  universally 
binding,  metre  and  rhythm  being  used 
sometimes  as  interchangeable  terms, 
and  sometimes  with  significations  ex- 
actly the  reverse  of  those  just  given. 
In  metre  the  smallest  metrical  element 
(unit  of  measure)  is  the  Measure  ;  the 
combination  of  2  measures  (either  sim.ple 
or  compound)  produces  the  Section;  of 
2  sections,  the  Phrase  ;  of  2  phrases, 
the  Period  (of  8  measures),  which  may 
be  extended  to  12  or  16  measures  ;  be- 
yond the  period  of  16  measures  the 
metrical  divisions  seldom  go,  i.  e.  they 
are  not  followed  by  the  ear  as  metrical, 
but  as  thematic  divisions  (see  Form). — 
2.  The  metre  of  English  hymns  is 
classified,  according  to  the  feet  used,  as 
iambic,  trochaic,  or  dactylic ;  in  the 
syllabic  schemes  below,  the  figures  in- 
dicate the  number  of  syllables  in  each 
line.  Variants  are  not  infrequent  in 
modern  hymnology. 

A.  lamliic  metres:  Common  metre  (C.  M.), 
8  6  8  6;  Long  metre  (L.  M.),  8888;  Short 
metre  (S.  M.),  6  6  8  6  ;  these  have  regularly  4 
lines  to  each  stanza;  when  doubled  to  8  lines 
they  .Tre  called  Common  metre  double  (C.  M. 
D.),  Long  metre  doulile  (L.  M.  D.),  and  Short 
metre  double  (S.  M.  D.).  They  may  also  have 
6  lines  in  each  stanza,  and  are  then  named 


METHODE— MILITARY  MUSIC. 


Common  particular  metre  (C.  P.  M.)i  8  8  6  8  8 
6;  Long  particular  metre  (L.  P.  M.),  or  Long 
metre  6  lines,  8  8  8  3  8  8;  and  Short  particular 
metre  (S.  P.  M.),  6  6  8  6  6  8.  Besides  the 
above,  there  are  Sevens  and  Sixes  7676;  Tens 
10  10  10  10 ;  Hallelujah  metre  6  6  6  6  8  8  (or  6 
6664444);  etc. 

B.  Trochaic  metres  :  Sixes  6  6  6  6;  Sixes  and 
Fives,  6565;  Sevens  7777;  Eights  and 
Sevens  8787;  etc. 

C.  Dactylic  metres:  Elevens  11  n  n  11; 
Elevens  and  Tens  11  10  11  10  ;  etc. 

These  are  most  of  the  metres  in  general  use 
(comp.  Common). 

— 3.  In  ancient  prosody,  the  science 
of  Metiics  treated  of  the  quantity 
(length)  of  the  syllables  ;  whereas  in 
modern  English  poetry  all  accented 
syllables  are  treated  as  long,  the  un- 
accented as  short.  The  metrical  unit  is 
a  mora  (time)  or  syllable  ;  syllables  com- 
bine to  form  feet;  feet  to  cola,  verses 
(i.  e. ,  lines),  or  periods  ;  periods  to 
strophes  ;  strophes  to  pericppes  ;  and 
pericopes  (or  lines,  or  periods)  to  poems. 
..Syllables  are  either  short  (--^),  long 
( — ),  or  common  (~)  ;  the  long  being 
equivalent  to  2  short,  and  the  common 
either  long  or  short  according  to  posi- 
tion. A  Foot  is  a  combination  of  2  or 
more  syllables. 

Methode  (Fr.),  Me'todo  (It.)     Method. 

Metro'metro  (It.),  Metrometre  (Fr.) 
A  metronome. 

Met'ronome.  (Fr.  metronome;  Ger. 
Metronom' ;  It.  metro' notno.)  A  double 
pendulum,  weighted  below,  actuated  by 
clockwork,  and  provided  with  a  gradu- 
ated scale  on  which  a  slider  can  be 
moved  up  and  down,  the  slider  deter- 
mining by  its  height  how  many  beats 
the  pendulum  shall  make  per  minute  ; 
often  with  a  bell-attachment  {Bell- 
metronome).  With  the  slider  set  at  60 
the  pendulum  makes  one  beat  per  sec- 
ond. .  .Aletronome-mark  {metronom' ic 
mark),  a  mark  set  at  the  head  of  a  com- 
position for  exactly  indicating  its  tempo ; 
e.g.,  M.M.J  =60  means,  that  the 
time-value  of  one  quarter-note  is  equal 
to  one  pendulum-beat  with  the  slider 
set  at  60  ;  M.  M.  standing  for  "  Mael- 
zel's  Metronome  "  after  its  reputed  in- 
ventor, Maelzel  of  Vienna  (18 16). — The 
J\I.  is  much  used  by  beginners  and 
students,  for  learning  to  play  strictly  in 
time,  and  for  timing  their  practice. 

Me'tro  (It.),  Me'trum  (Lat.)     Metre. 

Met'te  (Ger.)  Matins  (in  the  R.  C. 
Church). 

Mettez  (Fr.)     Draw,  add  (organ-music). 


Mez'zo,-a  (It.)  Half...^  mezza  a'ria, 
se& Ariaparlante . .  .Mezzo for'te{mf), 
half-loud .  . .  Mezzo  lega'to,  in  pfte  - 
technics,  a  variety  of  touch  resembling 
legi^ie'ro  in  being  a  down-stroke  with- 
out pressure,  but  differing  from  it  in 
requiring  that  greater  attention  be  paid 
to  a  forcible  stroke  than  to  a  rapid, 
springy  return  of  the  ^ng&v. .  .Mezza 
ma'nica,  half-shift.  .  .  Mezza  orche'stra, 
with  half  the  •~,X.x\x\'g-\)^\\A. .. Mezzo pia' no 
{mp),  half-soft,  less  loud  than  fnezzo 
forte ..  .Mezzo  sopra'no,  the  female 
voice  intermediate  between  soprano  and 
alto,  partaking  of  the  timbre  of  both, 
and  usually  of  small  compass  {a — f'^,  or 
a — /^),  but  verj'  full-toned  in  the 
medium  register. .  .Mezzo  teno're,  same 
SiS  Barytone ;  only  the  mezzo  tenore  \s 
in  quality  rather  a  low  tenor  than  a  high 
bass.  .  .Mezza  vo'ce,  with  half  the  power 
of  the  voice  ;  nearly  equivalent  to  mez- 
zo forte,  in  singing  or  playing. 

Mi.  I.  The  third  of  the  Aretinian  syl- 
lables.— 2.  Name  of  the  note  E  in 
France,  Italy,  etc... J//  contra  fa  est 
dia bolus  in  miisica,  "  mi  against  fa  [i.  e. 
the  tritone]  is  the  devil  in  music  ",  a 
theorem  of  medieval  musicians  express- 
ive of  their  abhorrence  of  the  melodic 
step,  and  even  of  the  harmonic  relation, 
of  the  tritone  (the  mi  =  £ii  of  the 
"  hard  "  hexachord  and  the  fa  =  /^  of 
the  "  natural"  hexachord). 

Middle-C,     The  one-lined  c'  on  the  first 

leger-line  below  the 


^ 


treble  staff  or  abovep^ 

the    bass    staff 

. . .  Middle  part  or  voice,  same  as  inner 

part. 

Militairement(Fr.),  Militarmen'te  (It.) 
In  military  style.  Also  (It.)  Alia  mili- 
tare. 

Militar'musik  (Ger.)  i.  Military  music. 
— 2.  A  military  band. 

Military  music.  The  military  band 
differs  from  the  orchestra  in  being  a 
wind-band  (composed  solely  of  wind- 
instruments),  and  in  admitting  the 
cornet,  bugle,  saxophones,  and  other 
instr.s  whose  timbre  is  considered  not 
to  blend  well  with  those  of  the  sym- 
phony-orchestra. Another  peculiar 
feature  is  the  large  reinforcement  of  the 
clarinets,  which  take  the  place  and 
parts  of  the  violins  and  violas  in  the 
orchestra.  Military  bands  may  contain 
anywhere  from   40  to  90   performers ; 


MIMODRAM  A— MINUET. 


that  of  the  22nd  Regt.,  New  York,  has 
66,  namely : 

2  piccolos  I  contraffagotto 

2  flutes  I  E|>  cornetto 

2  oboes  2  ist  Bi>  cornets 
I  A[>  piccolo  clarinet      2  2nd  "         " 

3  E^  clarinets  2  trumpets 
8  ist  B[>  clarinets  2  flijgelhorns 

4  2nd  "           "  4   French  horns 
4  3rd  "           "  2  Et>  alto  horns 
I  alto              "  2  lji>  tenor  horns 
I  bass             "  2  euphoniums 
I  sopr.  saxophone  3  trombones 
I  alto             "  5  bombardons 
I  tenor          "  3  drums 

1  bass  "  I  pair  cymbals 

2  bassoons 

In  France,  in  accordance  with  the 
official  order  promulgated  Nov.  17, 
1892,  the  regular  infantry  bands  com- 
prise the  following  instruments  : 

2  flutes  3  trombones 

2  small  clarinets  2  alto  saxhorns 

8  large  "  3  alto  saxotrombas 

2  oboes  5  bass  saxhorns 

I  sopr.  saxophone  i  contrabass  saxh. 

I  alto  "  I  "         tuba 

I  baryt.         "  i  shallow  drum 

1  tenor  "  i  b.ass  drum 

2  cornets  i  pair  cymbals 
2  trumpets 

or  40  in  all  (14  wood-wind,  23  brass,  3 
percussives). — The  principal  innova- 
tions on  the  former  standard  (estab- 
lished by  imperial  decree  of  March  26, 
i860)  are  (i)  disuse  of  wooden  flutes, 
for  which  metal  flutes  are  substituted  ; 
(2)  suppression  of  4  saxophones,  and 
substitution  of  4  more  clarinets ;  (3) 
suppression  of  2  barytone  saxhorns,  for 
which  2  bass  saxhorns  are  substituted. 

Mimodrama.  (Fr.  77ii»iodrame!)  A  pan- 
tomimic dramatic  performance,  often 
accomp.  by  music. 

Minacce'vole  (It.)  In  a  menacing  or 
threatening  manner.  (Also  luinaccevol- 
mcn' tt\  minaccian'do,  Diinaccio' so,  miti- 
acciosainen'  te.) 

Mineur   (Fr.)     Minor. 

Min'im.  (Lat.  ini'nima ;  It.  ini'ni>na  or 
bian'ca  ;  Fr.  miiiime  or  blanche ;  Ger. 
hal'be  iVo'cc.)  i.  A  half-note. — 2.  See 
Notation,  §3..  .Minim-rest,  a  half-rest. 

Min'nesinger,-sanger  (Ger.,  sing,  and 
pi.)  One  of  the  German  troubadours, 
or  lyric  poets  and  singers  of  the  1 2th 
and  13th  centuries,  who  were  exclusively 
of  noble  lineage ;  distinguished  from 
their  Southern  contemporaries  by  their 
chaster  conception  of  love  {Min'ne, 
Frail' endienst).  They  accompanied 
their  songs  {Min'negesang,  written 
chiefly  in  the  Swabian  dialect)  on  the 


viol  or  arpanetta,  and  their  rivalry  cul- 
minated in  grand  poetical  contests,  such 
as  the  one  immortalized  by  Wagner  in 
"  Tannhauser."  Their  art  originated 
in  Austria,  spreading  thence  to  the 
Rhine,  Thuringia,  and  Saxony  ;  in  the 
hands  of  their  successors,  the  Mei'ster- 
singer,  it  degenerated  past  recognition. 

'"^i'nor.  (Ger.  klein,  tnoll ;  Fr.  viineur ; 
It.  7)ii)io're.)  Lesser  ;  smaller  (comp. 
Interval,  Major,  Phone). .  .Minor  tone, 
the  lesser  whole  tone  10:9. 

Minstrel.  The  minstrels  of  the  middle 
ages  were  professional  musicians  who 
sang  or  declaimed  poems,  often  of  their 
own  composition,  to  a  simple  instru- 
mental accomp.  They  were  followers 
of  the  nobility  in  court  and  camp.  The 
French  me'nestrelsoi  the  8th  century  and 
later  were  the  musical  attendants  of  the 
trouveres  and  troubadours,  having  to 
execute  practically  the  musical  concep- 
tions of  their  noble  masters.  Thus  they 
occupied  from  the  outset  a  subordinate 
position  ;  their  art  slowly  degenerated 
in  England,  whither  they  were  trans- 
planted at  the  Norman  Conquest,  until 
they  were  classed  by  statute  (1597)  with 
"rogues,  vagabonds,  and  sturdy  beg- 
gars"; in  France  their  guilds  were 
maintained  down  to  the  Revolution.  In 
England  they  coalesced  with  the  Anglo- 
Saxon  "gleemen".  Their  favorite 
instr.  was  the  rebec. .  .  Negro  Minstrels, 
singers  and  actors  portraying  (originally) 
scenes  from  Southern  plantation-life. 
The  chief  performers  of  the  troupe  are 
the  middle-man  or  interlocutor  and  the 
two  end-men  (so  called  from  their  re- 
spective positions  in  the  semi-circle  of 
performers  on  the  stage);  the  former 
leads  the  talk  and  gives  the  cues,  while 
the  latter  preside  over  the  tambourine 
and  "  bones",  and  crack  the  jokes. 

Minuet'.  (It.  minuet' to;  Fr.  menuet;  Ger. 
Menuett'.)  One  of  the  earlier  French 
dance-forms,  supposed  to  have  orig- 
inated in  Poitou  ;  it  dates  as  an  art- 
product  from  about  Lully's  period  (end 
of  17th  century),  and,  as  such,  prop- 
erly consists  of  2  minuets,  or  a  double 
minuet  with  contrasted  sections  of  16 
measures  each,  the  second  forming  the 
Trio,  after  which  the  first  is  repeated. 
It  is  in  triple  time,  and  has  a  slow, 
stately  movement,  eschewing  all  orna- 
mentation. It  frequently  occurs  in  the 
Suite,  Sonata,  and  Symphony  ;  Beetho- 
ven was  the  first   to    introduce    in   its 


MIRACLE— MODE. 


123 


stead,  in  the  2  latter,  the  livelier  and 
freer  Scherzo  ;  in  the  Suite  it  figures, 
by  way  of  contrast,  between  the  Sara- 
bandeand  Gigue. 

Miracle,  Miracle-play.     See  Mystery. 

Miscel'la  (Lat.)     A  mixture-stop. 

Mise  de  voix  (Fr.)     Messa  di  voce. 

Misere're  (Lat.)  The  first  word  of  the 
Psalm  LI  (in  the  Vulgate,  L),  which 
begins:  "Miserere  mei,  Uomine" 
(Pity  me,  O  Lord) ;  hence,  the  name  of 
this  Psalm,  or  of  a  musical  setting  of  it, 
sung  in  the  Catholic  Churches  as  part 
of  the  burial  service,  at  the  Communion 
of  the  Sick,  and  the  like.  During 
Holy  Week  it  is  performed  with  pecu- 
liar solemnity  in  the  Sistine  Chapel  at 
Rome. 

Mis'sa  (Lat.)  The  Mass...y)/,  brev'is, 
short  mass...iJ/.  canta'ta,  chanted 
mass.  .  .M.pro defunc' tis,s&eEfcpiiem. 
.  .M.  soleni'nis,  ox solen'tiis,  high  mass. 

Mis'sal.      (Lat.    missa'le.)      The   R.  C. 

Mass-book,    containing    the    liturgical 

forms  necessary  for  the  celebration  of 

mass  the  year  round. 
Miss'klang  (Ger.)    Discord,  cacophony. 
Misterio'so  (It.)     Mysterious ...  J/Zj/f- 

riosamen' le,  mysteriously. 
Mistichan'za  (It.)    A  quodlibet. 
Misu'ra  (It.)     A  measure. .  .^//j'M/'fj'/c, 

measured,  in  e.xact  time. 
Mit  (Ger.)     With. 
Mit'klang    (Ger.)      Resonance.  .  .yJ///'- 

klingende  Tone,  overtones. 
Mit'telkadenz    (Ger.)       Semi-cadence. 

.  .Miftelstimme,  an  inner  part  or  voice. 
Mixed  cadence.    See  Cadence. .  .Mixed 

AUTHENTIC  MODES. 

Mode  I  (Do'rian). 

: m 0      -r     f- 


canon,  one  in  which  the  successive  parts 
enter  at  different  intervals ...  yT/zj:^;/ 
chorus,  quartet,  voices,  vocal  music 
combining  male  and  female  voices. 

Mixolyd'ian.     See  Mode. 

Mixture.  (Ger.  Mixtur';  Fr.  fourni- 
ture;  It.  ripie'no,  acco?-'do.)  A  com- 
pound auxiliary  flue-stop  with  from  3  to 
6  ranks  of  pipes  sounding  as  many  har- 
monics of  any  tone  represented  by  a 
given  digital.  These  harmonics  are 
generally  octaves  and  fifths  of  the  fun- 
damental tone  ;  sometimes  a  third,  or 
even  a  seventh,  is  added ;  they  are  higher 
in  comparative  pitch  for  low  tones  than 
for  high  ones,  (see  Break  3)  ;  e.  g.  for 
the  tone  C  the  3-rank  mixture  would 
usually  contain  c^-g^-c-  ;  and  for  <:',  c'^- 
g^-c^  (not  c^-g^-c%  In  some  old  German 
organs  mixtures  are  found  having  from 
8  up  to  24(!)  ranks,  there  being,  of 
course,  several  pipes  to  each  harmonic. 
— Mixtures  are  used  to  reinforce  and 
"  brighten  "  the  upper  parlials  of  the 
heavier  foundation-stops. 

Mo'bile  (It.)  With  a  facile  movement, 
readily  responsive  to  emotion  or  impulse. 

Mode.  I.  For  Greek  modes,  see  Greek 
7misic. — 2.  {l^&t.  mo'dits.)  The  medie- 
val church-modes  were  octave-scales, 
like  the  Greek  modes,  and  also  borrowed 
their  names  (see  below)  from  the  latter  ; 
but  they,  and  the  fundamental  diatonic 
scale  ^-a,  were  conceived  as  ascettding 
scales,  a  distinct  departure  from  ancient 
theory.  They  were  called  church-modes 
because  each  chant  in  the  Gregorian 
antiphony  was  kept  strictly  within  the 
compass  of  some  one  of  these  octave- 
scales,  without  chromatic  change  save 
that  from  Bq  to  B,  or  vice-versa. 

PLAGAL  MODES. 

Mode  II  (Hypodo'rian). 


W^ 


^ 


m\ 


Mode  III  (Phryg'ian). 


Mode  IV  (Hypophryg'ian). 


m 


e 


Mode  V  (Lyd'ian). 


-m — r- 


I     I 


I     I 


Mode  VII  (Mixolyd'ian). 

.-.    -^    -.t 

•r  f-  r  r-  t- 


a     r 


Mode  VI  (Hypolyd'ian). 


Mode  VIII  (Hypomixolyd'ian). 

0     -g^ 


Z24 


MODE   HELLENIQUE— MODERATO. 


AUTHENTIC  MODES. 
Mode  IX  (^o'lian). 


PLAGAL  MODES. 
Mode  X  (Hyposeo'lian). 


§- 


w 


I       I 


f 


Mode  XI  (Lo'crian). 


Mode  XII  (Hypolo'crian). 


W^^^^ 


^^ 


1 \- 


Mode  XIII  [or  XI]  (lo'nian). 


P5^ 


i 


Mode  XIV  [or  XII]  (Hypoio'nian). 


T^ 


In  the  authentic  modes  the  Final 
(what  we  should  call  the  key-nctc)  is  the 
lowest  tone  ;  in  the  plagal  modes,  a 
fourth  above  the  lowest  ;  it  is  marked 
by  a  whole  note  in  the  Table.  Each 
plagal  is  derived  from  a  parallel  authen- 
tic ;  St.  Ambrose  is  supposed  to  have 
established  the  first  4  authentic  modes, 
to  which  St.  Gregory  added  the  corre- 
sponding plagals  ;  these  8  were  exclu- 
sively employed  in  serious  composition 
down  to  the  i6th  century,  despite  the 
lack   of   any  scale  similar   to  the    (C-) 


Greek  Names. 

Hypophrygian 
Hypolydian 
Dorian 
Phrygian 

Lydian 
Mixolydtan 


major  and  (A-)  minor  scales  of  modern 
music  ;  then,  however,  the  last  4  modes 
were  added.  The  Locrian  {B-b)  and 
Hypolocrian  {f-f)  were  rejected  as 
useless,  neither  fulfilling  the  law  that 
each  authentic  mode  should  be  divisible 
into  a  perfect  fifth  plus  a  perfect  fourth, 
and  each  plagal  mode  into  a  fourth  plus 
a  fifth. — Both  the  names,  and  the  pre- 
fix hypo-,  are  used  in  a  sense  different 
from  that  of  the  original  Greek  modes, 
the  medieval  theorists  having  misinter- 
preted the  Greek  nomenclature. 

Final  Medieval  Names. 


Octave-scales. 

g  a  b  c'  d'  e'  f  g'        Mixolydian  (Mode  VII,  4th  authentic) 


f  g  a  b  c'   d'    eW         Lydian  (Mode  V,  3rd  authentic) 


e  f   g  a  b   c'  d'  e'        Phrygian  (Mode  III,  2nd  authentic) 

■  II I 

d   e  f   g   a   b   c'    d'         Dorian  (Mode  I,  ist  authentic) 

I 11 I 

d  e   £  g  a  b   c*   d'T      [Hypomixolydian  (Mode  VIII,  4th  plagal)] 


[.iii_Ft. 


cdef    gabc'         Hypolydian  (Mode  VI,  3rd  plagal) 


Bcdefgab  Hypophrygian  (Mode  IV,  2nd  plagal) 


Hypodorian  (or  iEolian)  ABcdefga  Hypodorian  (Mode  II,  ist  plagal) 


The  gradual  development  of  monodic, 
harmonic,  and  chromatic  music,  the 
evolution  of  the  leading-note,  the  ac- 
ceptance of  the  third  as  a  consonance, 
and  the  recognition  of  the  predominance 
of  the  tonic  triad,  with  the  modern 
system  of  transposing  tempered  scales 
in  the  major  and  minor  modes  thence 
resulting,  led  to  the  gradual  disuse  of 
the  church-modes. 

Mode   hell^nique   (Fr.;    also   troisilme 


mode).     The  inverted  major  scale,  be- 
ginning on  the  3rd  degree  : 

e' — d' — c'-^b — a — g — f— -e. 
so  termed  byBlainville  (1711-69),  this 
being  the    ancient  Dorian  mode   (see 
Gi-eek  music). 

Modera'to  (It. ;  superl.  moderatis'simo.') 
I  {noun).  Moderate  ;  i.  e.  at  a  moderate 
rate  of  speed,  or  tempo. — 2  (adverb). 
(Also  moderatamen'te).  Moderately ; 
as  allegro  moderate,  moderately  fast. 


MODERNO— MORDENT. 


125 


Moder'no,-a  (It.)  Modern  ;  alia  moder- 
na,  in  modern  style. 

Modification.     Same  as    Temperament. 

Mo'do  (It.)     Mode  ;  style. 

Mod'ulate.  (Ger.  moduUe'ren;  Fr.  mo- 
duler;  It.  modula're.)  To  pass  from  one 
key  or  mode  into  another  ;  to  effect  a 
change  of  tonality . . .  Modulation.  (Ger. 
and  Fr.  iModitlation' ;  Fr.  also  transi- 
tion; It.  7nodulazio'ne.)  Passage  from 
one  key  to  another  ;  change  of  tonality. 
— A  modulation  may  be  either yf //a/ or 
transient ;  it  is  final  when  the  new 
tonic  is  permanently  adhered  to,  or  still 
another  follows  ;  transient  {transitory, 
passing),  when  the  original  tonic  is 
speedily  reaffirmed  by  a  cadence.  . . 
Chrot?tatic  modulation ,  one  effected  by 
the  use  of  chromatic  intervals  ;  diatonie 
m.,  one  effected  by  the  aid  of  diatonic 
intervals  ;  enharmonic  m.,  one  effected 
through  employing  enharmonic  changes 
to  alter  the  significance  of  tones  or 
intervals. 

Mod'ulator.     See  Tonic  Sol-fa. 

Mo'dus  (Lat.)     Mode. 

Moll  (Ger.)  W\nor. .  .Moll'akkord,  mi- 
nor chord.  .  .Moll' dreiklang,  minor 
ir\a.d....Moll'to7iart,  minor  key... 
Moll'tonleiter,  minor  scale  ;  etc.,  etc. 

Mol'le  (Lat.,  "  soft".)  A  term  probably 
first  used  in  the  loth  century  to  desig- 
nate the  B  rotun'dum  {B  molle,—^),  in 
opposition  to  the  B  quadra' turn  {B  du'- 
rum,  tl,  the  modern  Bt]).  Later  it  was 
applied  tothehexachordy" — d,  in  which 
/^  was  substituted  for  ^Q  ;  and,  finally, 
to  the  minor  key  and  triad  (with  fiat 
third). 

Mollemen'te  (It.)     Softly,  gently. 

Mol'lis  (Lat.)     See  Molle. 

Moloss(e).  (Lat.  molossus.)  A  metrical 
foot  of  3  long  syllables  ( ). 

Morto,-a  (It.)  Much,  very  ;  as  viol  to 
adagio,  very  slowly  ;  molto  allegro,  very 
fast. .  .Di molto,  exceedingly,  extremely. 

Momen'tulum  (Lat.)     A  i6th-rest. 

Momen'tum  (Lat.)     An  8th-rest. 

Mon'ochord.  (Fr.  monocorde;  It.  ?nono- 
cor'do.)  I.  A  very  ancient  instr.  for 
the  precise  mathematical  determination 
of  the  intervals,  consisting  of  a  single 
string  stretched  over  a  soundboard  and 
provided  with  a  bridge  sliding  on  a 
graduated  scale,  by  means  of  which 
any  desired  division  of  the  string  could 


be  isolated,  and  intervals  of  true  pitch 
obtained. — An  instr.  of  the  same  name, 
but  furnished  with  several  strings  for 
the  purpose  of  obtaining  harmonic 
efTects,  was  the  precursor  of  the  clavi- 
chord.— 2.  The  tromba  marina. — 3.  A 
clavichord. — 4.  (Ger.,  recent. )  A  kind  of 
bow-zither,  having  one  string  stretched 
over  a  fretted  fingerboard  attached 
lengthwise  to  the  top  of  an  oblong  re- 
sonance-bo.x. 

Mon'ody.  (Ger.  and  Fr.  Monodie';  It. 
tjionodi'a.)  A  style  of  composition 
{monod'ic  or  monophon'ic)  in  which  one 
part,  the  melody,  predominates  over  the 
rest,  they  serving  as  a  support  or  ac- 
comp.  to  it.  It  took  its  rise  in  Italy 
about  1600,  in  the  form  of  a  vocal  solo 
with  instrumental  accomp. ,  the  latter 
being  at  first  a  mere  figured  bass  exe- 
cuted on  the  harpsichord,  theorbo,  etc. 
Its  novelty  lay,  not  in  its  newness,  but 
in  its  employment  and  recognition  by 
artists.  It  developed  into  the  opera, 
cantata,  and  oratorio  on  the  one  hand, 
and,  on  the  other,  into  all  those  forms 
of  instrumental  music  in  which  the  ele- 
ment of  accompanied  melody  is  found, 
as  the  suite,  symphony,  etc.  (Also 
Hoviophony,  Monophony. ) 

Monoph'onous.  Capable  of  producing 
but  one  tone  at  a  time  ;  opp.  to  poly- 
phonous.  .  .  Monoph'ony,  see  Monody. 

Mon'otone.  i.  A  single  unaccompanied 
and  unvaried  tone. — 2.  Recitation  (in- 
toning, chanting)  in  such  a  tone. 

Monter  (Fr.)  i.  To  ascend;  inontant,s,%- 
cending. — 2.  To  raise  the  pitch  of. — 3. 
To  put  strings  on  an  instr.;  also,  to 
put  an  instr.  together,  to  set  it  up. 

Montre  (Fr.)  In  the  organ,  the  dia- 
pason ;  so  called  because  "shown"  or 
set  up  in  the  organ-front,  away  from 
the  soundboard. 

Moralities.  (Ger.  Moralitd'ten;  Fr. 
niorali/e's.)  A  later  form  of  the  miracle- 
plays  or  mysteries. 

Morceau  (Fr.)  A  piece,  composition  ; 
moreeau  de  genre,  characteristic  piece. 

Mordant  (Fr.)    Comp.  Graces. 

Mordent.       (Ger.    Mor'dent,     Bei'sser; 
Fr.  pince';  It.  tnorden' te.)  A  grace  con- 
sisting of  the  single  rapid 
alternation  of  a  principal 
note  with  an  auxiliary  a  j 
minor  second  below, thus:  < 


^    .    t 


126 


MORENDO— MOVEMENT, 


3_^^^^^  >_3_^^^^ T  h  e 


played 


</^«/ has  a  double  or  triple  alternation, e.g. 
7     I*    '   played 


— In  the  Imrr/ii/  Mordent,   the  prin- 
cipal note    alternates    with    the    hight-r 
auxiliary;  its  siijn  lacks  the  cross-stroke, 
written  : 


Moren'do  (It.)  Dying  away,  growing 
fainter  and  fainter  (v.  Ti'tnpo-niarks). 

Mormoran'do  (It.)  Murmuring,  mur- 
murous, in  a  very  gentle,  subdued  tone. 
Also  tnormo7-e'volt\  niormoro' so. 

Morris-dance.  (Also  morrice-Jance, 
Moresque,  Aforisco,  etc.)  A  sort  of 
costume-dance,  apparently  of  Moorish 
origin,  in  4-4  time  and  of  a  boisterous 
character  ;  now  obsolete. — Also,  a  kind 
of  country-dance  still  performed  in 
Yorkshire,  England. 

Mos'so  (It.,  "moved".)  Equivalent  to 
"rapid"  in  the  phrases  meiio  mosso,  less 
rapid,  piu  viosso,  more  rapid,  and  poco 
mosso,  somewhat  rapid  (e.  g.  Allegretto 
poco  mosso,  a  rather  lively  allegretto, 
nearly  allegro). 

Mo'stra  (It.)     A  direct. 

Motet'.  ((]er.  Motet' te;  Fr.  viotet;  It. 
tnottet'to.)  A  sacred  vocal  composition 
in  contrapuntal  style,  without  instru- 
mental accomp.  In  former  times  the  a 
cappella  style  was  not  always  strictly 
adhered  to.  The  motet  resembles  the 
anthem  in  having  a  biblical  prose  te.xt. 
but  differs  from  it  in  being  polyphonic  ; 
compositions  in  anthem-style  are,  how- 
ever, sometimes  called  motets. —  The 
Latin  mote'tiis  is  a  term  of  various  and 
sometimes  obscure  signification. 

Motif  (Fr.)     A  motive. 

Motion.  I.  The  progression  or  lead- 
ing of  a  single  part  or  melody  ;  it  is 
conjunct  wlien  progressing  by  steps, 
disjunct  when  progressing  by  skips. — 
2.  The  progression  of  one  part  con- 
sidered in  relation  to  that  of  another ; 


contrary  or  opposite  motion  is  that  in 
which  one  part  ascends  while  the  other 
descends  ;  parallel*  motion,  that  in 
which  both  parts  ascend  or  descend  by 
the  same  interval  ;  ohlique  motion,  that 
in  which  one  part  is  held  while  the 
other  ascends  or  descends  ;  similar* 
motion,  that  in  which  both  parts  ascend 
or  descend  together  by  dissimilar  inter- 
vals ;  tiiixed  motion,  that  in  which  2  or 
more  of  the  above  varieties  occur  at 
once  between  several  parts. 

*  N.B. — The  above  fine  distinctinn  between 
/ara/Ut  and  simitar  motion  is  very  often  not 
observed,  the  term  parailel  motion  being  used 
indiscriminately  for  both. 

Mo'tive  [sometimes  pron.  mo-teev'\ 
(Ger.  Motiv' ;  Fr.  ynotif ;  It.  moti'vo.) 
I.  A  short  phrase  or  figure  (rhythmic, 
melodic,  or  harmonic)  used  in  develop- 
ment or  imitation. — 2.  A  theme  or  sub- 
ject (see  Leading-motive). — 3.  Some- 
times used  for  Measure,  as  the  rudi- 
mentary element  of  the  Period. — Mea- 
sure-motive, one  whose  accent  coincides 
with  the  measure-accent. 

Mo'to  (It.)  I.  Motion.  .  .Af.  contra'rio, 
contrary  motion... J/,  ini'sto,  mixed 
motion.  .  .M.  obbli'quo,  oblique  mo- 
tion. .  .AF.perpe'tito,  perpetual  motion. 
.  .M.  ret' to,  similar  motion. — 2.  Move- 
ment, tempo. . .  Con  moto,  with  an  ani- 
mated and  energetic  movement. .  .Moto 
preeeden'ie,  at  the  former  tempo. 

Motteggian'do  (It.)  Bantering,  face- 
tious. 

Mottet'to  (It.)     Motet. 

Mo'tus  (Lat.)  Motion.  .  .AI.  contra' rius, 
contrary  motion.  .  .A[.obli'quus,ohX\Q^& 
motion.  .  .M.  rcc'tus,  similar  motion. 

Mouth.  The  opening  on  the  front  side 
of  an  organ-pipe.  .  ..1/i:J//M-/i(7'v;/(>«/V<i, 
a  set  of  graduated  metal  reeds  mounted 
in  a  narrow  frame,  blown  by  the 
mouth,  and  producing  different  tones 
on  expiration  and  inspiration.  .  .Afoiitk- 
organ,  see  \'M\s-\)\^^c.%.  .  .Alouthpiece 
(tier.  Mund' stuck;  Fr.  emhouehure; 
It.  imboccatu'ra),  that  part  of  a  wind- 
instr.  which  a  player  places  upon  or  be- 
tween his  lips. 

Mouvement  (Fr.)  Movement,  tempo. 
.  .Mouvemente.  A  piece  is  said  to  be 
bie>t  mouvemente  when  its  rhythmical 
structure  is  elegant  and  symmetrical. 

Movement,  i.  (Ger.  Bewe'gung;  Fr. 
mouvement;  ll.moviinen'to,  mo'to,  tern'- 
po.)     Tempo,  rate  of   speed.— 2.  (Ger. 


MUANCES-MUTMIG. 


12? 


Satz;  Fr.  par  tie;  It.  tempo.)  A  prin- 
cipal and  usually  separate  division  or 
section  of  a  composition,  containing- 
themes  and  a  development  peculiar  to 
itself. 

Muances  (Fr.)     See  Mutation  2. 

Mund  (Ger.)  Mouth ...  J/'«;/(/7/r7rwr'- 
7iika,  mouth-harmonica.  .  .Mund' loch, 
mouth  (of  an  organ-pipe;  usually  Auf- 
schnitl).  .  .Mund' stuck,  mouthpiece. 

Mune'ira  (Span.)  A  Galician  dance  of 
moderate  tempo  and  in  2-4  time,  with 
an  auftakt  of  a  quarter-note,  and  the 
strong  beat  marked  by  the  castanet- 
rhythm. 

Mun'ter  (Ger.)  Lively,  animated,  gay. 
(.\Iso  adverb^ 

Murky.  A  murky-hass  is  one  progress- 
ing in  broken  octaves  ;  a  harpsichord- 
piece  with  such  a  bass  was  called  a 
murky. 

Muse,  The  mouthpiece  or  wind-pipe  of 
the  bagpipe. 

Musette  (Fr.)  i.  A  small  and  primitive 
kind  of  oboe. — 2.  A  variety  of  bag- 
pipe in  which  the  wind  is  supplied  by  a 
bellows. — 3.  A  short  piece  of  music 
imitating  in  style  that  played  on  this 
kind  of  bagpipe,  i.  e.  of  a  soft  and  gen- 
tle character  and  with  a  drone-bass ; 
hence,  the  dance-tunes  of  the  same 
style  and  name. — 4.  A  reed-stop  in 
the  organ. 

Mu'sica  (Lat.  and  It.)  Music. .  .M.  da 
ca'mera,  chamber-music.  .  .Al.da  chie'- 
sa,  church-music.  .  .A/,  da  tea'tro,  the- 
atre (theatrical)  music.  .  .M.  di  gat'ti, 
charivari  (see  Katzenmusik). 

Musical  box,  Music-box.  The  so- 
called  Sruiss  music-box  consists  of  a 
metallic  cylinder  or  barrel  studded  with 
small  pins  or  pegs,  and  caused  to  re- 
volve by  clockwork.  In  revolving,  the 
pins  catch  and  twang  a  comb-like  row 
of  steel  teeth  arranged  in  a  graduated 
scale,  each  tooth  producing  a  tone  of 
very  accurate  pitch.  In  the  larger  instr.s 
the  barrel  may  be  shifted  so  as  to  play 
several  tunes,  or  is  made  exchangeable 
for  others. — For  the  newer  music-boxes, 
compare  Symphonion,  Libellion. 

Musician.  (Ger.  Mu'siker;  Fr.  musi- 
cien;  It.  mu'sico,  mustci'sta.)  One 
who  practises  music  in  any  of  its 
branches  as  a  profession. 

Music-pen.  i.  A  soft-nibbed,  broad- 
pointed  pen  for  writing  notes,  etc. — 2. 


A  5-pointed  pen  for  drawing  the  5  lines 
of  the  staff  on  paper. 

Music-recorder.  See  Afclograph.  Pho- 
nograpli ,  Pho  nan  tog  rap  h . 

Music-wire.  Steel  wire  for  the  strings 
of  mus.  instr.s. 

Musik'  [-zeek']  (Ger.)  Music. .  .J/usik'- 
bande,  see  Bandc ..  .Musik' diktat,  see 
Die  tee  musicalc ..  .Musik' direktor.  a 
con^^xc\.ox ..  .Musik' f est.  mus.  festival. 
.  .Musik' tneisier,  conductor  of  a  mili- 
tary band. 

MusikaTien  (Ger.)  Music  (i.  e.  musical 
compositions).     [.V  trade  term.] 

Masikant'  (Ger.)  A  vagabond  or  bung- 
ling musician. 

Mu'siker,  Mu'sikus((',er.)  A  musician. 

Musiquette  (Fr.)  Little  pieceof  music  ; 
or  (collectively)  light  music. 

Mu'ta  (It.)  "  Change  !  "'  A  direction  in 
orchestral  scores  indicating  a  change  of 
crook  or  instr.,  or  in  the  tuning  of  an 
instr.,  necessitated  by  a  change  of  key. 

Mutation,  i.  (Ger.  Mutie'rung;  Fr. 
mue;  It.  mutazio'nr.)  The  change  of 
the  male  voice  at  puberty. — 2.  (Ger. 
Mutation' ;  Fr.  pi.  mutations,  muances; 
It.  mutazio'iie.)  In  medieval  solmisa- 
tion,  the  change  or  passage  from  one 
hexachord  to  another,  with  the  conse- 
quent change  of  syllable  (comp.  SoIj/u- 
sation). — 3.  In  violin-playing,  "shift- 
ing." 

Mutation-stop.  In  the  organ ,  any  stop, 
except  a  mixture,  whose  pipes  produce 
tones  neither  in  unison  norin  octaves  with 
the  foundation-  (S-foot)  stops;  i.  e.,  all 
tierce  and  quint-stops,  and  their  octaves. 

Mute.  I.  (Ger.  Ddtn'pfer;  Fr.  sour- 
dine; It.  sordi'no.)  The  mute  for  the 
violin,  etc.,  is  a  piece  of  brass  or  other 
heavy  material,  having  cleft  projections 
which  permit  of  its  firm  adjustment  on 
the  bridge  without  touching  the  strings  ; 
its  weight  deadens  the  resonance  of  the 
sound-box.  (Recently  made  in  the 
form  of  a  spring  clip.)  The  direction 
for  putting  on  the  mutes  is  "con  sor- 
dini ";  for  taking  them  off,  "  senza 
sordini  ". — 2.  A  pear-shaped,  leather- 
covered  pad  introduced  into  the  bell  of 
the  horn  or  trumpet  to  modify  the  lone. 
Other  forms  of  this  mute  are  (for  the 
horn)  a  pasteboard  cone  with  a  hole  at 
the  apex,  and  (for  the  trumpet)  a  cylin- 
drical tube  of  wood  pierced  with  holes. 

Mu't(h)ig  (Ger.)  Spirited,  bold.  (Also 
adverb,^ 


128 


MUTIERUNG— NATURAL. 


Mutie'rung  (Ger.)     Mutation  I. 

Mysteries.  (Ger,  Mystc'rien;  Fr.  mys- 
i^res.)  Medieval  scenic  representations 
of  biblical  events,  arranged  originally 
by  the  monks,  and  generally  accom- 
panied by  vocal,  often  by  instrumental, 
music.  The  Passion-plays  (still  sur- 
viving at  Oberammergau  in  Bavaria) 
are  as  old  as  the  7th  or  8th  century  ;  the 
Moralities,  a  peculiar  form  of  the 
Mysteries,  in  which  abstract  concep- 
tions were  personified,  originated  about 
the  13th  century.  The  Mysteries  were 
the  precursors  of  the  Oratorio, 


N. 

Nacaire  (Fr.)  A  former  kind  of  kettle- 
drum. 

Nac'cara,  Nac'chera  (It.)  i.  SeeyVa- 
caire. — 2.  (Also  Gnac'carej  pi.)  Cas- 
tanets. 

Nach  (Ger.)  After;  according  to... 
N^ach'ahinung,  imitation. .  .Nach  Belie' - 
ben,  ad  libitum . . .  iVach'druck,  empha- 
sis ;  nach' dyiicklich{px 7nit Nachdr lick), 
with  emphasis,  emphatically. .  ,^'kja^/t'^ 
lassend,  slackening  (in  tempo) . .  .Nach'- 
Idssig,  careless,  negligent  (also  adverb). 
.  .Nach'ruf,  a  farewell,  leave-taking. 
.  ,A'(7f/i'j<7 ^2,  after-phrase,  second  phrase 
or  theme,  contrasting  with  Vor'dersatz. 
Nach'schlag,  (a)  the  unaccented  appog- 
giatura  ',  (^)  "  after-beat  "  of  a  trill  (also 
Nach'schleife) .  .  .  N'ach' spiel,  a.  post- 
lude. .  .Nach' tatiz^^€"Sailarello  2. . . 
Nach  und  nach' ,  step  by  step,  gradu- 
ally. 

Nacht  (Ger.)  "i^'x^t. .  .Nacht'hom, 
Nacht'schall,  a  flue-stop  in  the  organ, 
having  covered  pipes  of  2,  4,  or  8-foot 
pitch,  and  resembling  in  tone  the 
Quintaton  or  the  Hohl'Jiiite.  .  .A'acht'- 
hornbass,  the  same  Stop  on  the  pedal. 
.  .  Nacht' stiick,  a  nocturne. 

Nsenia.     See  Nenia. 

Na'gelgeige,-harmonika  (Ger.)  Nail- 
fiddle. 

Naif,  Naive  (Fr.),  Naiv'  (Ger.)  Naive  ; 
unaffected,  ingenuous,  artless.  .  .Naive- 
ment,  naively. ..  A'txizv//,  artlessness, 
simplicity,  etc. 

Nailfiddle.  (Ger.  Na'gelgeige.)  An  instr. 
consisting  of  a  soundboard  in  which  are 
inserted  from  16  to  20  steel  or  brass 
pins  of  graduated  length,  sounded  by 
means  of    a   bow   well   smeared   with 


rosin  ;  the  tone  is  like  that  of  the  har- 
monica. Inv.  by  Johann  Wilde  of  St. 
Petersburg,  toward  the  middle  of  the 
1 8th  century. 

Naked  fifth  (fourth).  A  fifth  (fourth) 
without  an  added  third.     (Also  dare.) 

Narran'te  (It.)  In  narrative-style  ;  calls 
for  a  very  distinct  declamatory  enun- 
ciation of  the  words  sung. 

Narrator.  The  personage  who,  in  the 
earlier  passion-plays  and  oratorios, 
sings  the  narrative  portions  of  the  text. 

Nasard  (Fr. ;  Span,  nasar'do;  Ger. 
N'asat'.)  In  the  organ,  the  mutation- 
stop  commonly  known  as  the  Twelfth 
(2|-foot  pitch).  The  Gros-nasard 
(Gross' nasat),  is  a  quint-stop  either  on 
pedal  ( I o§ -ft.)  or  manual  (5j-ft.) ;  the 
Petit  nasard  (Larigot),  is  a  double- 
octave  quint-stop  (i^-ft.)  (Also  na- 
sarde,  nassart,  nasillard,  nazad.) 

Nason  flute.  An  organ-stop  having 
stopped  pipes  of  mild,  suave  tone. 

Natur'-  (Ger.)  Natural. .  .A'a/«r'//(7r«, 
a  ^Fia/i;/'/z(3r« (without valves). .  .Natur'- 
skala,  natural  scale.  .  .Natur'tone  (or 
natiir'liche  Tone),  natural  harmonic 
tones,  as  of  the  horn,  ^ic. .  .Natur'- 
trompete,  a  trumpet  without  valves. 

Natural,  i.  (Ger.  Auf  iSsungszeichen; 
Fr.  bAarre;  It.  beqtia'dro^  The  sign  Q 
(see  Chromatic  Signs). — 2.  A  white 
digital  on  the  keyboard .  . .  Natural  har- 
7nonics,  those  produced  on  an  open 
string ;  opp.  to  artificial,  which  are 
produced  on  a  stopped  string. .  .N'atu- 
ral  hexachord,  that  beginning  on  C.  .  . 
Natural  horn,  the  French  horn  without 
valves.  .  .Natural  ititerval,  one  found 
between  any  2  tones  of  a  diatonic  major 
scale.  .  .Natural  key,  see  Nat.  scale.  . . 
Natural  pitch,  that  of  any  wind-instr. 
when  not  o\&x\)\o^-a.. .  .Natural  scale, 
C-major,  having  neither  sharps  nor  flats. 
.  .Natural  tone,  a  tone  producible,  on  a 
windinstr.  with  cupped  mouthpiece,  by 
simply  modifying  the  adjustment  of  the 
lips  and  the  force  of  the  air-current, 
without  using  mechanical  devices  for 
changing  the  length  of  the  tube  (such 
as  keys,  valves,  or  the  slide).  Such 
natural  tones  always  belong  to  the  series 
of  higher  partials  (comp.  Acoustics). 
These  are  the  only  tones  which  an  instr. 
having  a  tube  of  invariable  length  (like 
the  natural  [French]  horn)  can  yield ; 
they  are  produced  by  the  division  of 
the  vibrating  air-column  defined  by 
their  tube  into  aliquot  (equal)  parts  of 


NATURALE— NINTH. 


129 


constantly  decreasing  length.  A  tube 
of  wide  bore  in  proportion  to  its  length 
will  yield  most  readily  the  low  and  me- 
dium tones  of  the  series,  including  the 
fundamental ;  a  tube  comparatively  nar- 
row, the  medium  and  higher  tones, 
omitting  the  fundamental.  Any  metal 
instr.  yielding  the  fundamental  tone  (e. 
g.  the  Tuba)  is  called  a  complete  instr. 
(Ger.  Ganz' instrument) ;  one  incapable 
of  yielding  it  (e.  g.  the  Trumpet),  an 
incomplete  instr.  (Ger.  Halb'instru- 
vient).  With  a  minimum  air-pressure, 
and  the  lips  most  relaxed,  the  funda- 
mental tone  of  the  tube  is  sounded. 

Natura'le  (It.)  Natural,  unaffected... 
Naturalmen'te^  naturally,  etc. 

Natura'lis  (Lat.)  Natural . . .  Can'tus 
naturalis,  and  hexachor'dum  natura'le^ 
music,  and  the  hexachord,  embracing  the 
tones  c  d  e  f  g  a, 

Naturalisf  (Ger.)  A  natural  or  self- 
taught  singer  ;  one  not  trained  accord- 
ing to  any  vocal ' '  method  "  or  "  school ". 
.  .Naturalis' tisch^  amateurish. 

Naturel,-le  (Fr.)     Natural. 

Neapolitan  sixth.     A  chord  of  the  sixth 


Ne'ben-  (Ger.)  By-,  accessoiy..  .Ne'ben- 
dominante,  dominant  of  the  dominant, 
e.  g.  D  in  the  key  of  C.  . .  Ne'bendrei- 
klang,  secondary  WxsiA. .  .Ne'benge- 
danke,  accessory  theme  or  idea . . .  Ne'- 
benklang,  accessory  tone  (either  es- 
sential, as  harmonics,  or  unessential). 
.  .Ne'bennote,  auxiliary  note.  .  .A^e'ben- 
sepiimenakkorde,  secondary  chords  of 
the  7th  (all  except  the  dominant)... 
Ne'benstivitne,  accompanying  or  ripicno 
^2S\.. .  .Ne'beuTverk  (on  2-manual  or- 
gan), choir-organ. 

Neck.  (Ger.  Hals;  Fr.  viaitclie;  It. 
ma'nico.)  The  elongated  projection 
from  the  body  of  an  instr.  of  the  viol  or 
lute  family,  bearing  the  fingerboard  on 
its  upper  side,  and  ending  with  the  head 
or  scroll. 

Negligen'te  (It.)  Negligent,  careless. 
.  .Negligentemen'te,  negligently. 

Ne'gli,  nei,  nel,  nell',  nel'la,   nel'le, 

nel'lo  (It.)     In  the. 
Ne'nia.     A    funeral  song  or   lament ;  a 

dirge. 
Neo-German  school.     The  disciples  of 


Schumann  and  Liszt  ;  the  romantic 
school  of  composition,  and  the  "pro- 
grammists". 

Ne'te.     See  Lyre. 

Nettamen'te  (It.)  Neatly,  cleanly; 
clearly,  distinctly. .  .Net' to,  neat,  clean, 
clear. 

Neu'deutsche  Schu'le.  See  Neo-Ger. 
man. 

Neu'ma,  Neume.  I.  In  Gregorian  mu- 
sic, a  melisma. — 2.  In  medieval  mus. 
notation,  one  of  the  characters  used  to 
represent  tones,  inflections,  and  graces. 
They  were  of  different  and  fluctuating 
form  and  signification,  at  first  with  a 
curious  outward  resemblance  to  modem 
short-hand,  later  changing  to  coarse 
and  heavy  strokes  and  flourishes.  The 
earlier  neumes  (Sth  to  13th  century) 
can  hardly  be  successfully  deciphered, 
even  with  the  aid  of  the  letters  {littera 
significativcr)  sometimes  added,  or  of 
the  lines  (inception  of  staff-notation) 
employed,  from  the  loth  century  on- 
ward, to  fix  the  pitch  ;  for  they  were 
less  an  attempt  at  exact  notation  in  the 
modern  sense,  than  an  aid  to  memory, 
a  system  of  mnemonic  signs.  They  are 
important  as  being  the  first  attempt  to 
exhibit  the  relative  pitch  of  notes  by 
their  relative  height  on  the  page  ;  they 
gradually  passed  over  into  the  notce 
quadrate  and  ligatures  of  Plain  Song. 

Neuvi^me  (Fr.)  The  interval  of  a  ninth. 

Nicht  (Ger.)     Not. 

Ni'colo  (It.)   A  large  kind  of  bombardon 

(17th  century)  ;  precursor  of  the  bas- 
soon. 

Nie'der-  (Ger.)  Dov/n.. .  .N'ie'derschlag, 
down-beat.  . .  A^ie'ders trick,  down-ho-'M. 
.  .Nie'dertakt,  down-beat. 

Nineteenth,  i.  The  interval  of  2  octaves 
and  a  fifth. — 2.  See  Latigot  (organ- 
stop). 

Ninth.  (Ger.  N'o'ne;  Fr.  neuvihne;  It. 
no'na.)  An  interval  wider  by  a  semi- 
tone or  a  whole  tone  than  a  perfect 
octave  ;  a  compound  second;  but  dis- 
tinguished in  theory  from  the  second  by 
the  fact  that  it  enters  into  the  formation 
of  a  chord  in  the  series  of  ascending 
thirds.  .  .Chord  of  the  ninth,  a  chord 
practically  recognized  under  2  principal 
forms  :  (i)  the  major,  and (2)  the  minor 
chord  of  the  ninth,  each  a  chord  of  the 
dominant  seventh   with   added  ninth: 


130 


NOBILE-NOTATION. 


The  former, 

based  on    par- 

»£;  tials  2-3-(4)-5- 
—  (6)-7-9,is  acou- 
stically the  more 
y^—i^  '~  euphonic, 
'-"^^^2^  though  the  lat- 

ter  has  been  of- 

f :  V  tener  used  in 
practical  music.  Their  inversions  are 
figured  according  to  the  ordinary  rule. 
(Comp.  Chord.') 

No'bile  (It )  Noble  ;  refined,  chaste. . . 
Nobilmen'te,  nobly.  .  .Con  nobilith'y 
with  nobility,  grandeur. 

Noch  (Ger.)     Still,  yet. 

Nocturne  (Fr. ;  Ger.  Noktur'ne,  Nachf- 
stiick;  It.  nottur'ttp.)  A  word  intro- 
duced by  Field  as  a  title  for  piano-pieces 
of  a  dreamily  romantic  or  sentimental 
character,  but  lacking  a  distinctive 
form. 

Noc'turns.  Services  of  the  Church  held 
during  the  night,  each  portion  of  the 
Psalm  set  aside  for  this  purpose  being 
termed  a  Nocturn. 

Nodal  figures.  The  figures  correspond- 
ing to  the  nodal  lines  of  a  vibrating 
plate  of  wood,  glass,  etc.;  rendered 
visible  by  strewing  fine  dry  sand  on  the 
plate,  this  sand  being  tossed  by  the 
vibrating  portions  of  the  plate  to  the 
nodal  line's,  which  are  points  of  perfect 
or  comparative  rest  ;  the  symmetrical 
figures  thus  formed  are  also  called 
Chlad)ii  s  Jigtires,  having  been  discov- 
ered by  him. .  .N.  point,  see  A^ode. 

Node.  (Ger.  Kno'lenpunki;  Fr.  nxud; 
It.  no' do.)  A  point  or  line  in  a  vibrating 
body  (such  as  a  string,  soundboard, 
trumpet,  bell),  which  remains  at  rest 
during  the  vibrations  of  the  other  parts 
of  the  body.     Opp.  to  Loop  i. 

No'dus  (Lat.,  "knot".)   An  enigmatical 

canon.  I 

Noel  (Fr.)  A  sort  of  carol  sung  in  the 
South  of  France,  chiefly  on  the  day  be- 
fore Christmas,  or  Christmas  eve. 

Nceud  (Fr.)  I.  A  turn  (usually  group/). 
— 2.     A  node. 

Noire  (Fr.)     A  quarter-note. 

Nome,  Nomos  (Gk.)  A  canon  (rule) 
for  mus.  composition  ;  hence,  a  song 
composed  according  to  the  rule. 

Non  (It.)     Not. 


No'na  (It.),  No'ne  (Ger.)  The  interval 
of  a  ninth. 

Nones.  The  fifth  of  the  canonical  hours. 

Nonet'.    (Ger.  Konett' ;  It.  nonet'to.)    A 

composition  for  g  voices  or  instr.s. 
Non'nengeige      (Ger.)        Nun's-fiddle, 

tromba  marina. 

Nono'le  (Ger.)     Nonuplet. 

Non'uplet.  A  group  of  9  notes  of  equal 
time-value,  executed  in  the  time  proper 
to  6  or  8  of  the  same  kind  belonging  to 
the  regular  rhythm. 

Normal'ton  (Ger.)  Standard  pitch... 
Normal' tonarten  (pi.),  normal  keys.  . . 
NormaV tonleitern,  normal  scales. 

No'ta  (Lat.  and  It.)  A  note..  .N.  buo'na, 
an  accented  note. .  .  A'',  canibia' ta  (cam- 
Uta),  {a)  a  changing-note  ;  {h)  an  irreg- 
ular resolution  of  a  dissonance  by  a 
skip.  .  .N.  carathri'stica,  leading-note. 
.  .N.  catti'va,  an  unaccented  note... 
Nota  contra  notam  (Fat.),  note  against 
note,  equal  counterpoint..  .N.  d'abbelli- 
men'to,  a  grace-note.  .  .  A^.  da passa'gio, 
a  passing-note. . .  A^.  falsa,  a  changing- 
note.  .  .N.  principa'le,  a  principal 
(essential)  note. .  .N.  quadra' ta  {quadri- 
quar'ta),  a  Gregorian  or  plain-song 
note . . .  N.  roma'na,  a  neume . . .  N.  sen- 
si'bile,  the  leading-note. 

Notation.  Musical  notation  is  the  art  of 
representing  musical  tones  by  means  of 
written  characters.  Letters,  numerals, 
and  signs  of  different  kinds,  have  been 
used.  The  signs  now  almost  univer- 
sally employed  are  called  notes,  and  are 
written  on  a  staff  of  5  lines  ;  hence,  this 
system  of  writing  music  is  termed  Staff- 
notation.  (Comp.  also  Alphabetical 
notation,  A'eumes,  A'unurals.) 

§1.  The  lines  and  spaces  of  the  staff 
indicate  the  pitch  of  the  notes.  The 
lines  which  Hucbald  first  u.sed  (about 
A.D.  900),  served  the  same  end  by 
representing  strings  ;  in  the  spaces  be- 
tween, the  syllables  of  the  words  sung 
were  written,  the  relative  pitch  of  the  suc- 
cessive tones  being  (sometimes)  marked 
by  the  letters  /  {—-tontts,  whole  tone), 
and  s  {=^seniitoniii>n,  semitone). — This 
system  was  also  used  later  for  noting  the 
primitive  part-music  called  or'ganuni  or 
discant;  increasing  the  number  of  lines 
as  far  up  or  down  as  necessary,  and 
setting  the  syllables  for  the  several  parts 
vertically  one  above  the  other. — An  ex- 
ample of  one-part  notation  ace.  to 
Hucbald  now  follows  : 


NOTATION. 


m 


li/  \ 


lus\ 


Ec\ 


Isra  \  /        in  quo  \ 


ce\ 


/ 


he 


do/ 


on\ 


vere   / 


Solution  in  choral  notes : 


^ 


i 


Ec  -  ce    ve  -  re     Is  ■ 


-he 


Nearly  contemporaneously  with  Hue- 
bald's  invention,  an  innovation  appeared 
in  neumatic  notation  ;  a  red  horizontal 
line  was  drawn  across  the  page,  and  all 
neuraes  written  on  this  line 


m 


were  of  the  same  pitch,  this 
pitch  being  fixed  by  a  letter  /: 
set  before  the  line.  A  second  line, 
but  yellow,  was  soon  added  for  r' 
above  the  y-line  (or  below,  for  plagal 
melodies) ;  the  two  greatly  facilitated 
the  reading  of  written  music.  An- 
other improvement,  m  a  different  dir- 
ection, is  shown  by  an  orderly  system 
of  lines  marked  in  regular  succession 
by  Greek  letters  set  before  them,  the 
tones  being  represented  by  points  or 
dots  on  the  lines.  To  Guido  d'Arezzo 
is  generally  ascribed  the  systematization 
and  introduction  (about  1026)  of  the 
4-line  staff,  in  which  both  lines  and 
spaces  were  at  length  utilized  ;  he  re- 
tained the  red  and  yellow  lines,  added  a 
third  (black)  line  between  them  for  a, 
and  a  fourth  (black)  line  either  above  or 
below  these  three,  according  to  the 
range  of  the  melody  written,  for  e^  or  d; 
he  did  not  use  notes,  but  either  letters 
or  neumes. 

%2.  A  staff  being  thus  established, 
and  affording  a  firm  basis  for  exactly 
fixing  the  pitch  of  written  music,  the 
neumes  hitherto  in  ordinary  use  gradu- 
ally lost  their  hieroglyphical  appearance 
and  became  transformed  into  the  Choral 
Notes  of  Plain  Chant,  the  regular  square 
form  of  which  d)  gave  rise  to  the 
name  tiota  qttadraia  or  quadriquarta, 
other  shapes  occurring  only  occasionally 
in  certain    figures  ^    ^^  or  ^^  ^  . 

The  4-Iine  staff  is  still  retained  in  Plain 
Chant  ;  other  staves,  having  from  6  to 
15  or  more  lines,  were  arbitrarily  em- 


Perfect  Imperf.  Perf. 
L.irge-  Large-  Long- 
rest,  rest        rest. 


Imperf.    Breve-    Semibr, 
Long-        re>t  rest 

rest.     (Pausa)    (Semipai 


li  -  ta,    in   quo   do  -  lus  non   est. 

ployed  down  to  the  15th  centur)-,  when 
the  5-line  staff  for  all  vocal  music  ex- 
cept Plain  Chant,  and  the  6-line  staff  ior 
organ-music,  were  universally  adopted  ; 
the  present  5-line  staff  superseded  the 
latter  after  the  invention  of  music-print- 
ing.— All  this  time  the  form  of  the  clefs 
was  likewise  changing,  the  original  / 
and  c  becoming : 

(/)       .         (0 ^ 

etc.;  the  g  also  assumed  a  great  variety 
of  fantastic  shapes  before  the  modern 
forms  were  finally  settled. 

§3.  Mensurable  notation,  differ- 
ing from  that  of  Plain  Chant  by  express- 
ing a  determinate  (relative)  time-value 
of  the  tones  in  its  notes,  which  were 
invented  for  the  exact  indication  of 
rhythmic  relations,  appeared  near  the 
beginning  of  the  I2th  century.  The 
notes  in  use  for  some  200  years,  and 
imitated  from  Plain  Chant,  were  the 
Large  (^|)  or  duplex  longa  or  maxima; 

the  Long  (*,)  or  longa;  the  Breve  (g) ; 
and  the  Semibreve  (^  or  pr)  ;  to  which 
were  then  added  the  Minim  (1)  and 
Semi  minim  (1).  Early  in  the  15  th 
century  the  first  five  were  supplanted 
by  the  open  notes  (large  P^  ,  long  f^  i 
breve  fci  .  semibreve  O or  A,  minim    I  n 

the  smaller  notes  which  had  been  gradu- 
ally added  being  written  in  2  forms  : 
Semiminima  [J]    I  or  1. 

Croma  or  Fusa  [^  ]    -^  or    X. 

Semicroma  or  Semifusa  [^Nj  ^  or  X. 

Below  are  the  corresponding  rests  : 

.-   Miiiiin-rest    Semiminim-     Croma-    Semicr.- 

(Suspiriiim)  rest  rest  rest 

1.)  (Semisuspirium'). 


Z32 


NOTATION. 


— The  single  notes  were  often  joined  in 
groups  (comp.  art.  Ligature). — The 
angular  notes  of  measured  music  were 
not  finally  supplanted  by  modern  round 
notes,  in  music-printing,  till  about  1 700, 
though  in  MS.  music  they  had  been 
freely  employed  since  the  i6th  century. 

For  determining  the  relative  time- 
value  of  the  notes,  various  and  often 
conflicting  rules  were  made  for  the 
Modus  (mode),  Tempus  (time-value  of 
the  breve),  Prola' tio  (prolation),  Color, 
Position,  etc. ;  a  brief  explanation  of 
the  16th-century  rules  follows,  premis- 
ing, that  the  terms  perfect  and  imper- 
fect refer  to  the  measure  or  time,  triple 
time  being  regarded  (out  of  reverence 
for  the  "  Blessed  Trinity")  as  perfect, 
while  duple  time  was  held  to  be  imper- 
fect. 

Modus  (mode)  governed  the  subdi- 
vision of  the  Large  into  Longs,  and  of 
the  Long  into  Breves  :  in  the 
Modus  major  perfectus,  i  p^  =  3  t^ 

"  "      imperfec,  I  pi  =  2  t^ 

"      minor  perfectus,  I  t^    =3  ^ 
"  "      imperfec,  I  t^    =2  t:S{ 

Tempus  (time)  governed  the  subdi- 
vision of  the  Breve  into  Semibreves  ;  in 
Tempus  perfectum  (sign  the  circle 

O).  I  N  =  3  o 

Tempus  imperfec.  (sign  the  semic. 

C),  I  1=^  =  20 

Prolatio  (prolation)   governed  the 
subdivision  of  the  Semibreve  ;  in 
Prolatio  major  i  <^  =  3  1 

"       minor  i  <^  =  2  yl 
the  former  marked  by  a  dot  in  the  time- 
signature  (®  or   (•  ),  the  latter  simply 
by  the  absence  of  a  dot.* 

The  usual  tnode-signatures  were  ver- 
tical strokes  (long-rests)  at  the  head  of 
the  staff  ;  e.  g. ,  with  the  signs  for  tem- 
pus and  prolatio  : 

Modus  maj.  perf. 
-TN — ■  J  Modus  min.  perf. 
32 —       1  Tempus  perfectum 

Prolatio  major 


•  The  system  previously  in  vogue  referred  to 
the  relative  time-value  of  the  notes  in  general ; 
thus,  according  to  de  Vitry  (13th  century) : 

I.  prolatio :  ■  =  3  ^,  and  1^  =  3^ 


II. 
III. 
IV. 


=  3  ^,    "     I  4  =  3  X 


f  Modus  maj.  imperf. 
)  Modus  min.  perf. 

!  Tempus  imperfec. 
Prolatio  major 
Modus  maj.  perf. 
Modus  min.  imperf. 
Tempus  perfectum 
Prolatio  minor 
Modus  maj.  imperf. 
Modus  min.  imperf. 
Tempus  imperfectum 
Prolatio  minor 
N.B. — The  time-signatures  were  often  written 
smaller,  between  the  second  and  third,  or  third 
and  fourth,  lines,  etc. — The  mode-signatures 
were  also  drawn  from  the  fourth  line  down  to 
the  lowest ;  as  a  rule,  they  were  omitted  alto- 
gether, leaving   the   reader  to  ascertain   the 
mode  from  conventional   peculiarities   in   the 
notation  called  sig'na  impli'cita  or  intrin'- 
sera  (implied  signs),  in  contradistinction  to  the 
signa  indicia' lia  (indicatory  signs) ;  as,  in  the 
greater  mode  per/ecty  a  group  of  3  black  larges 
(see  Color,  below),  or,  in  the  lesser  mode  per- 
/ect,  a  group  of  2  black  longs,  or  a  breve-rests 
at  the  beginning  of  a  modal  unit. 

Position  (i.  e.  the  order  in  which 
the  notes  stood)  was  very  important. 
A  long  followed  by  a  long,  or  a  breve 
by  a  breve,  was  always  perfect  (tripar- 
tite) by  position;  whereas  a  long  pre- 
ceded or  followed  by  a  breve,  or  a 
breve  preceded  or  followed  by  a  semi- 
breve,  was  always  imperfect  (bipartite) 
by  position.  After  the  minim  was  in- 
vented, the  semibreve  also  became 
similarly  influenced  by  its  position  ;  the 
minim  and  lesser  notes  were  always 
perfect. 

Color  was  the  general  designation 
for  notes  differing  in  color  from  those 
ordinarily  used  ;  the  red  note  {no' tula 
ru'bra)  of  the  14th  century  generally 
marked  a  change  from  perfect  to  im- 
perfect time,  or  vice  versa ;  the  white 
note  {notula  alba)  was  at  first  used  like 
the  red,  but  soon  obtained  the  fixed 
and  definite  signification  of  imperfec- 
tion in  opposition  to  the  ordinary  black 
note  (of  the  14th  century);  finally,  the 
black  note  {notula  nigra)  of  the  i6th 
and  17th  centuries,  when  the  ivhite 
notes  were  universally  adopted,  in  its 
turn  indicated  imperfection  ;  thus,  from 
the  15th  century  onward,  groups  of  2 
or  more  black  notes  had  the  proportio 
hemiolia  to  the  surrounding  white  notei, 
i.  e.  their  time-value  stood  to  that  of 
the  latter  in  the  ratio  of  2  to  3, — hence 
their  name  Ilemiola  or  Hemiolia{<\.  v.) 

Augmentation  and  Diminution. 
Terms  used  loosely  to  express  any  in- 
crease or  decrease  in  the  time -value  of 
the  notes  ;  but  signifying,  specifically, 
{augmentatio)  a  retarding  of  the  tempo, 
generally  doubling   the   integer  valor  \ 


NOTE. 


133 


and  (diminutio)  an  acceleration  of  the 
tempo,  generally  reducing  the  integer 
valor  by  one-half. — The  diminutio  was 
first  expressed  by  a  vertical  line  through 
thetempus-signature  ((|)  (J  (|)  (|),  or 
by  inverting  the  semicircle  TO  \,  also 
by  adding  to  the  /tv«/«j-signature,  in 
the  midst  of  a  composition,  numerals 
or  fractions  (3,  2,  f,  \,  t,);  2  or  f  then 
signified  that  2  tactics  (semibreves  <>) 
were  equal  to  I  <>of  the  preceding  tem- 
po ;  etc.,  etc. — Aiiginentatio  was  gen- 
erally employed  to  reverse  a  preceding 
diminutio;  the  sign  for  which  was  sim- 
ply annulled  by  the  usual  sign  for  the 
integer  valor  (Q.  C)  Of"  ^y  the  in- 
version of  the  fraction  (^,  8,  etc.)  These 
fractions,  however,  were  properly 
termed  signs  of  Proportion. 

Proportion.  The  theory  of  Pro- 
portio,  from  the  15th  century  onward, 
treats  of  the  different  time-signatures 
and  tempo-marks  applied  to  several 
parts  progressing  simultaneously  ;  for 
instance,  in  a  4-part  composition  the 
integer  valor  might  be  marked  for  the 
discant  in  temptis perfectum  Q.^^dfor 
the  bass  in  tempus  imperfectuni  (3,  the 
alto  might  be  in  tempus  imperfectum 
diminutum  (t ,  while  the  tenor  had  di- 
minutio intripla  Q  3  ;  further,  changes 
might  be  made  in  any  or  all  parts  in 
the  course  of  the  piece,  and  were  indi- 
cated by  fractions  (the  signs  of  propor- 
tion; compare   Augmentation^    above). 

Alteration  ((z//<'ra^j(7)  was  the  doub- 
ling of  the  time-value  of  the  second  of  2 


equal  notes,  and  occurred  either  when 
the  next  largest  kind  of  note  was  per- 
fect, and  the  2  (smaller)  notes  stood 
between  two  such  large  ones,  or  when 
the  2  notes  were  separated  from  a 
following  note  of  equal  or  smaller 
value  by  a  punctum  divisionis;  e.g. 
HOO  H  '"  tempus  perfectum.  (Q) 
would  be  expressed  thus  in  modem 
notation  {  <s>  •  \  <s>    c  |  o  •  )• 

The  Punc'tum  or  Punc'tus  (point, 
dot)  had  various  uses  ;  {a)  Punctum 
augmentatio'nis,  equivalent  to  our  dot 
of  prolongation  ;  (/')  Punctum  altera- 
tio'nis,  which,  placed  before  the  first 
of  2  short  notes  lying  between  2  long 
ones,  doubled  the  value  of  the  second 
short  note  and  restored  the  perfection 
of  the  2  long  ones  ;  (<r)  Punctum  per- 
fectio'nis,  used  in  prolation,  and  also 
to  restore  the  perfection  of  a  note  made 
imperfect  by  position;  and  (d)  Punc- 
tum divisio'nis  or  imperfectio'nis, 
written  between  2  short  notes  lying  be- 
tween 2  long  ones,  indicated  the  imper- 
fection of  both  the  latter. 

None  of  these  rules  or  signs  were  in- 
variably followed  or  employed ;  the 
above  remarks  will  serve,  however,  to 
give  a  correct  general  idea  of  the  in- 
tricacies of  Mensurable  Notation.  (Also 
see  Figura  obliqua.) 

■  Note.  (Ger.  and  Fr.  No'te;  It.  no'ta.) 
One  of  the  signs  used  to  express  the  re- 
lative time-value  of  mus.  tones.  (Comp. 
N'otation.)  The  notes  employed  in 
modern  notation  are  the  following  : 


a 

jr 
jr 

n 


i 


English, 
j  Breve,  or 
1  Double  note 
j  Semibreve,  or 
i  Whole  note 
j  Minim,  or 

Half-note 

Crotchet,  or 

Quarter-note 
(  Quaver,  or 
j  Eighth-note 

J  Semiquaver,  or 
Sixteenth-note 
(  Demisemiquaver,  or 
J  Thirty -second-note 

(  Hemidemisemiquaver, 
1  or  Sixty-fourth-note. 


German. 
Brevis 


(  Ganznote,  or 
)  ganze  Taktnote 
J  Halbnote,  or 
(  halbe  Note 
j  Viertel,  or 
j  Viertelnote 
j  Achtel,  or 
(  Achtelnote 
J  Sechzehntel,  or 
j  Sechzehntelnote 
j  Zweiunddreissig- 
I  stel(note) 

j  Vierundsechzig- 
(  stel(note) 


French. 
Breve,  or  Carree 

J  Seml-br&ve,  or 
j  Ronde 
Blanche 

Noire 

Croche 

Double-croche 

Triple-croche 

Quadruple-croche 


Italian. 
Breve 


Semibreve 


^  Minima,  or 
Bianca 
j  Semiminima,  or 
I  Nera 
Croma 

Semicroma 

Semibiscroma 

Quattricroma. 


Black  note,  one  having  a  solid  head  (J); 
opp.  to  white  note  (J).  Also,  a  black 
digital  or  kty-  ■  -Changing  note,  see 
Changing-note.  . .Character-notes ,  notes 
varying  in  shape  from  those  in  common 
use,  employed  to  present  characteristic 
qualities  of  the  tones  other  than  their 


time-values.. .  Choral-note ,s^^ Notation, 
%^\  and  2.  .  .Crowned note,  one  with  a 
hold  (2)  over  it. .  .Double  note,  a  breve 
(=  2(S>).  .  .Driving-note,  a  syncopated 
note.  .  .Essential note,  a  chord-note,  of 
vs\&\o&^-XioX&.  .  .Grace-note,  see  Grcue. 
.  .Harmonic  /w/^,  a  chord-note . .  .Hold' 


m 


NOTE— OBBLlQUO. 


in^-Mote,  a  tone  sustained  in  one  part 
while  the  other  parts  move.  .  .Leading 
note,  Alaster-note,  see  Leading-twte .  .  . 
Open  note,  a  white  note.  .  .Fassitig  note, 
see  Passing-note. .  .Reciting-note,  see 
Reciting.  .  .  White  note,  see  Black  7iote. 
^Note  (Fr.)  A  note...7V^.  accidentt'e,  an 
accidental .  .  .  N.  d'agn'ment,  or  de  goiit, 
grace-note ...  A^.  sensible,  leading-note. 
.  .Notes  surabottdantes {j^\.),  groups  like 
triplets,  quintuplets,  etc.,  etc. — The 
French  names  for  the  7  notes  of  the 
scale  are  (i)  tit,  r/,  mi,  fa,  sol,  la,  si; 
and  (2)  toniijue,  sus-toniqiie,  vi/diante, 
sous-dominante,  dcminante,  sus-domi- 
nante,  sensible. 

Noten  (Ger.  pi.)  i.  Notes. — 2.  Music 
(i.  e.  compositions,  pieces). 

No'tenfresser  (Ger.)  Same  as  Croqne- 
tiote. 

No'tograph.     .See  Melograph. 

Nottur'no  (It.)  Nocturne  ;  dimin.  Xot- 
tiirni'  no. 

Nourri  (Fr.,  "nourished".)  Un  son 
nourri,  a  full  or  well-sustained  tone. 

Novellette.  A  name  probably  first  be- 
stowed by  Schumann  (Op.  21)  on  a  style 
of  instrumental  composition  free  in  form, 
bold  in  harmonic  structure,  romantic  in 
character,  and  specially  characterized  by 
a  variety  of  contrasting  themes  and  by 
considerable  length.  (Sometimes  A'dr't-/- 
ettc.) 

Novemo'le  (Ger.)    A  nonuplet. 

Nowel.  {¥r.  Noel.)  A  Christmas  carol, 
especially  one  in  polyphonic  style. 

Nuance  (Fr.)  A  shadingor  inflection  in 
vocal  delivery  or  instrumental  rendering, 
affecting  either  timbre,  tempo,  or  dyna- 
mic  effect,  to  a  greater  or  less  degree. 

Null.  A  naught  or  cipher.  (See  O.) — 
In  thorough-bass,  a  cipher  calls  for 
iasto  solo. 

Number,  i.  A  principal  division  or  move- 
ment of  an  extended  composition,  like 
an  opera  or  oratorio  ;  or  any  smaller 
and  more  or  less  complete  portion  of  a 
large  work,  as  a  song,  aria,  interlude, 
etc.;  or,  finally,  any  single  piece  on  a 
program. — 2.  Equivalent  to  Opus-ntini- 
her. 

Numerals.  For  the  employment  of 
Arabic  numerals,  comp.  Abbreviatiotts 
2,  Fingering,  I/armoniuvi-yniisic,  Or- 
gan, Phone  §6,  Pitch  §2,  Tablature, 
Thorough-bass. — As  abbreviations,  2- 
tirne,  j-time,  are   equivalent  to    duple 


time,  triple  time  ;  4tte,  ^tte,  to  quartet, 
quintet.  .  .(It.)  3-,  4«.  5',  6»,  7»,  con- 
tractions of  Terza,  Quarta,  Quinta, 
Sesta,  and  Settima  respectively;  ^or  <?"», 
"all'ottava";  /j""*,  "allaquindecima." 
.  .(Fr.)  3p,4p,  8p,  i6p,equiv. to  2-foot, 
4-foot,  etc. .  .  Roman  numerals  are  used, 
in  mus.  theory,  to  mark  fundamental 
chords,  thus  showing  at  a  glance  from 
what  triad  any  given  inversion  is  de- 
rived (comp.  Chord,  and  Phone,  §§5,  6). 
Nu'merus  (I.at.)  1.  Number.— 2. 
Rhythm. 

Nunc  dimit'tis.  The  first  2  words  in 
the  Canticle  of  Simeon  (Luke  II,  29-32) 
"  Nuncdimittisservum  tuum,  Domine, 

in  pace"  (Now,  O   Lord,  lettest 

thou  thy  servant  depart  in  peace) ;  a 
text  frequently  used  by  composers,  and 
forming  portions  of  special  services  in 
the  Catholic  and  Anglican  Churches. 

Nun's-fiddle.     Tromba  marina. 

Nuo'vo,-a  (It.  [noo-o'vo].)  New...Z'« 
niiovo,  anew,  again. 

r^^ut.  I.  (Ger.  Sat'tel;  Fr.  sillet ;  It. 
capota'sto.)  The  ridge  over  which  the 
strings  pass  at  the  end  of  the  finger- 
board next  the  head  of  a  violin,  lute, 
etc.— 2.  (Ger.  Frosch;  Fr.  talon.)  The 
movable  projection  at  the  lower  end  of 
the  violin-bow,  to  which  the  hair  is  at- 
tached, and  by  which  it  is  tightened  or 
slackened. — 3.  The  hnver  nut  on  the 
violin,  etc.,  is  the  ridge  between  the 
tailpiece  and  tailpin  (or  button). 

o. 

O.  A  circle  (Q)  was  the  medieval  sign 
for  tempus  perfectum  (see  jVotation, 
§3);  enclosing  figure  ( 0),  see  Harmoni- 
um-miisic .  .  .A  small  circle  signifies,  in 
modern  notation,  ((/)  an  open  string  ; 
{b)  the  harmonic  mark  ;  (c)  the  dimin- 
ished fifth  ;  id)  in  thorough-bass,  ta- 
sto  solo;  {c)  in  old  German  clavier-mu- 
sic, marks  notes  to  be  played  with  the 
thumb. 

O  (It.)     Or.     (Also  od.) 

Obbliga'to  (It.)  Required,  indispensa- 
ble. An  obbl.  part  is  a  concerted  (and 
therefore  essential)  instrumental  part; 
the  term  is  specially  applied  to  an  in- 
strumental part  accompanying  and  vy- 
ing with  a  vocal  solo,  very  numerous 
examples  of  which  may  be  found  in  the 
music  of  the  l8th  century. 

Obbli'quo  (It.)    Oblique. 


OBER— OCTAVIN. 


135 


O'ber  (Ger.)  Over,  above,  higher. . .  0'- 
berdominan'te,  the  dominant  (opp.  to 
Un' terdominante ,  the  subdominant).  .  . 
O'berlabiuin,  upper  lip  (organ-pipe).  .  . 
O'hermanttal,  upper  manual.  ..  C'/'ir- 
stimine,  highest  part. .  .  O'l'ertaste,  black 
key. .  .O'bertone,  overtones,  harmonics; 
pho'nischer  Obertou,  the  15th  partial.  . 
.  C/berwerk  (in  Germany),  cAf/r-organ 
(when  organ  has  2  manuals);  sivell-or- 
gan  (when  organ  has  3)  ;  j-c'/t^-manual 
(when  organ  has  4  manuals).  (Abbr. 
Obw.,  or  O.  W.) 

Obligat',-o  (Ger.),  ObHg6-(Fr.)  Ob- 
bligato. 

Oblique  motion.  See  Motion. . .  Oblique. 
pfte.,  an  upright  pfte.  with  strings  run- 
ning diagonally  instead  of  vertically. 

Obli'quus  (Lat.)  Oblique ... /"/^"Kr^ 
obliqiia,  see  Figura..  .Motus  obliquics, 
oblique  motion. 

O'boe.  (Ger.  Obo'e;  Fr.  hmtthois;  It. 
oboe' .)  I.  An  orchestral  instr.  with 
conical  wooden  tube,  having  from  9  to 
14  keys,  and  a  double  reed  held  by  the 
player  directly  between  his  lips,  he  thus 
completely  controlling  the  expression. 
Compass  Zva     though  either  ex- 

2 octaves  i-^  ■■  i^— -  treme  is  difficult 
plus  a  |(^  'V/^  '  and  hazardous. 
seventh  :   tT  ^i^f  The  scale  above 

■-A — — — -  is  formed  by  octaves  of  the 
1^— ^*~~"  fundamental  tones,  as  in  the 
i7  '  flute,  the  fingering  of  which  is 

also  similar  to  that  of  the  oboe.  The  tone 
is  very  reedy  and  penetrating,  though 
mild,  and  equally  suited  for  scenes  of 
pastoral  gaiety  or  of  lonely  melancholy. 
— The  oboe  family  is  incomplete,  only 
2  instr. s,  the  ordinary  treble  oboe  (for- 
merly oboi  pic'colo)  and  the  alt-oboe 
{cor'no  ingle'se)  being  now  used,  the 
former  as  a  non-transposing  instr. 
written  in  the  6^-clef,  the  latter  as  a 
transposing  instr.  The  bass  for  the 
oboe  is  furnished  by  the  bassoon.  The 
oboe  d'amo're  (Fr.  hautbois  d'a/nottr)is 
at  present  played  only  in  the  historical 
concerts  of  the  Brussels  Conservatory  ; 
its  pitch  is  a  minor  third  below  the 
treble  oboe,  and  it  differs  from  the  ob- 
solete obo^  ba/so  (Fr.  grand  hauthois) 
in  having  a  spherical  bell  with  a  narrow 
aperture,  whereby  the  tone  is  sensibly 
subdued. — The  parent  instr.  of  the 
oboe  was  the  shaivm.    (See  Appendix.) 

Oboi'sta  (It.)     Oboist. 

Ocari'na.  A  small  wind-instr.,  an  im- 
provement of   the  toy    2-tone   cuckoo- 


pipe.  It  has  an  elongated  bird-shaped 
terra-cotta  body  5  or  more  inches  long, 
provided  with  a  varying  number  of  hn- 
ger-holes,  and  with  a  mouthpiece  like  a 
whistle  projecting  from  the  side.  The 
tone  is  mellow  and  fluty.  The  better 
kinds  are  provided  with  a  tuning-slide. 
Occhia'li  (It.)  Same  as  firillenbdsse. — 
Also,  recent  name  for  the  white  notes 
(=>  and  J). 

Ochet'to  (It.),    Oche'tus   (Lat.)       See 

Hocket. 

Octachord,  i.  An  8-stringed  instr. — 2. 
A  series  of  8  consecutive  diatonic  tones. 

Octave.     I.   (Ger.   Okta've;  Fr.    octave; 

V  It.  ot/a'zui.)  I.  A  series  of  eight  con- 
secutive diatonic  tones. — 2.  The  inter- 
val (1:2)  between  the  1st  and  8th  tones 
of  such  a  series.  (Comp.  Interval.) — 3. 
The  8th  tone  of  such  a  series,  consid- 
ered in  its  relation  to  the  1st ;  or  vice 
versa.  The  Sth  is  called  the  higher  oc- 
tave of  the  1st,  the  1st  the  lower  octave 
of  the  8th. — 4.  One  of  a  number  of 
arbitrary  divisions  of  the  entire  range 
of  tones  employed  in  practice,  made  for 
the  sake  of  convenience  in  referring  to 
and  establishing  the  absolute  pitch  of 
each  tone.  (Comp.  Piti/i.) — 5.  In  the 
organ,  a  stop  whose  pipes  sound  tones 
an  octave  higher  than  those  represented 
by  the  digitals  touched  ;  like  the  Prin- 
cipal. .  .Ai  the  octave,  see  Ottava,  all'. 
. .  Broken  octaves,  see  Broken .  .  .  Con- 
cealed, covered,  or  hidden  octaves,  paral- 
lel octaves  suggested  by  the  progression 
of  2  parts  in  similar  motion  to  the  in- 
terval of  an  octave . .  .  Rule  of  the  octave, 
a  system  of  harmonizing  the  diatonic 
scale  taken  as  a  bass  ;  much  employed 
in  tuition  before  the  laws  governing 
harmonic  progression  had  been  formu- 
lated. . .  Short  ^r/r?<7(;',  in  organ-building, 
the  lowest  octave  of  the  keyboard, 
when  abbreviated  by  the  omission  of 
all  digitals  but  those  needed  for  the 
bass  of  the  simpler  harmonies,  the  digi- 
tals remaining  being  set  side  by  side  as 
if  forming  the  regular  series  ;  this  was 
done  to  save  expense  and  space .  .  .  Oc- 
tave-coupler, see  Coupler ..  .Octave- 
flute,  (fi)  the  piccolo  ;  (b)  an  organ- 
stop  of  4-foot  pitch. . .  Octave-scale,  see 
Mode. .  .Octave-stop,  same  as  Octave  5. 

Octavia'na.  See  Ottavino.  (Also  oc- 
tavin,  octavtna,  octavino.) 

Octavin'  [-veen].  i.  See  Ottavino. — 2. 
A   wind-instr.   iuv.  in    1803   by  Oscat 


136 


OCTAVO— OPERA. 


Adler  of  Markneukirchen,  Saxony.  It 
has  a  single  reed,  and  a  wooden  tube 
of  conical  bore  ;  the  keys  are  so  arr. 
that  the  fingering  is  similar  to  that  of 
the  clarinet,  oboe,  etc.  The  tone  is 
quite  powerful  ;  the  timbre  between 
oboe  and  horn.  Made  in  2  sizes,  ^ 
and  C ;  compass  3  octaves,  c^ — c^. 

Octavo  attachment.  See  Octavc-pcdal, 
under  Fidal. 

Octet'.  (Ger.  Oktetf ;  Fr.  octette;  It. 
ottet'to.)  A  composition  for  8  voices 
or  instr.s. 

Octo-basse  (Fr.)  The  octo-bass,  an 
immense  3-stringed  double-bass  4  me- 
tres in  height,  provided  with  a  mechan- 
ism of  digitals  and  pedals  for  stopping 
the  strings  ;  it  is  a  third  lower  in  pitch 
than  the  ordinary  double-bass  {C\-Gi-C), 
and  its  tone  is  smooth  and  powerful. 
Inv.  by  J.  B.  Vuillaume  in  1851. 

Octochord.     See  Octachord. 

Octo'le  (Ger.)     Octuplet. 

Oc'tuor.     Same  as  Octet. 

Oc'tuplet.  A  group  of  8  equal  notes 
having  the  same  time-value  as  6  notes 
of  the  same  kind  in  the  regular  rhj-thm. 

Ode.  A  lyric  poem  intended  for  singing, 
and  expressive  of  lofty  and  fervent 
emotion;  it  has  no  set  characteristic  me- 
trical form. — Also,  the  musical  setting 
of  such  a  poem. 

Ode'on.  (Gk.  odei'on  / 'La.t.  odc'uw.)  A 
public  building  in  which  musical  con- 
tests were  held. 

O'der  (Ger.)    Or,  or  else. 

Ode-symphonie  (Fr.)  A  choral  sym- 
phony, symphony  with  chorus. 

CEuvre(Fr.)     Work,  composition. 

Off.  In  organ-music,  a  direction  to  push  in 
a  stop  or  coupler;  as  S7i'.  to  Gt.  off.. .  Off 
the  pitch,  false  in  pitch  or  intonation. 

Offen  (Ger.)  I.  Open  (of  organ-pipes). 
— 2.   Parallel  (fifths,  octaves). 

Offenbar  (Ger.)  Open,  manifest. . .  Of- 
fenbare  Okta'ven,  Qui n  ten,  open  or 
parallel  octaves,  fifths. 

Offertory.  (Lat.  and  Ger.  Offerto'niun; 
Fr.  offer  toire;  It.  offer  to' rio.)  In  the 
R.  C.  Mass,  the  verses  or  anthem  fol- 
lowing the  Credo  and  sung  by  the  choir 
while  the  priest  is  placing  the  unconse- 
crated  elements  on  the  altar,  during 
which  the  offerings  of  the  congrega- 
tion are  collected.  The  daily  offertory 
of   the    Gregorian    antiphonary  is  now 


usually  supplemented  by  a  motet  on  the 
same  or  different  verses  ;  such  offerto- 
ries are  also  composed  with  instrumental 
accomp. 

Oficle'ide  (It.)     Ophicleide. 

Oh'ne  (Ger.)     Without. 

Oh'renquinten  (Ger.,  "ear-fifths".) 
Covered  fifths,  the  ill  effect  of  which 
the  ear  detects  (or  is  supposed  to  de- 
tect) ;  sometimes  used  to  designate 
mere  theoretical  finicalities. 

Okta've  (Ger.)  OciaxQ.  .  .Oklaz'ie'rcfi, 
to  produce,  when  overblown,  the  higher 
octave  of  the  lowest  natural  tone  of  the 
tube  {\v\nd-mstr.ii).  .  .Oktiiv'c hen,  Ok- 
tav' flote,  piccolo.  .  .  Okta'vengatttingcn, 
octave -scales.  . .  Okta'venverdop'pelun- 
gcn,  Oktav' folgei7 ,-paralle' len,  parallel 
or  consecutive  octaves . . .  Oktcif'-  VVald- 
horn,  a  new  species  of  Waldhorn,  inv. 
by  Eichborn  and  lleidrich  of  Breslau, 
of  particularly  full  tone  in  the  high  and 
low  parts  of  its  range. 

Oktavin'.     See  Octavin  2. 

O'lio.     A  medley,  or  mus.  miscellany. 

Olivettes  (Fr.)  Dances  after  the  olive- 
harvest. 

Om'bra  (It.)     A  shade,  shading,  nuance. 

Om'nes,  Om'nia  (Lat.)   All.   See  Tutti. 

Om'nitonic.  (Fr.  omnitonique.)  Having 
or  producing  all  tones  ;  chromatic  ;  as 
cor  o/Hfiitoniijue, chromatic  (valve-)  horn. 

Once-accented.     See  Fitch. 

Ondeggiamen'to  (It.)  Undulation... 
Ondeggian' te,  undulating,  wavy. 

Ondulation  (Fr.)  Undulation. . .  Ondul/, 
undulated,  wavy. 

One-lined.     See  Pitch. 

Ongare'se  (It.)     Hungarian. 

Onzifeme  (Fr.)     The  interval  of  an  eler- 

enth. 

Open  diapason,  harmony,  note,  order, 
pedal,  pipe,  etc.;  see  the  nouns. 

Op'era.  (It.  O'pera  \^se'ria,  biif'fa,  etc.], 
dram' ma  per  mu'sica;  Fr.  opera;  Ger. 
O'per,  Musik' drama.)  Modern  opera, 
a  form  of  dramatic  representation  in 
which  vocal  and  instrumental  music 
forms  an  essential  and  predominant  ele- 
ment, took  its  rise  towards  the  close  of 
the  l6th  century  in  the  striving  of  Ital- 
ian (Florentine)  composers  and  aesthe- 
ticians  to  emancipate  vocal  music  from 
the  fetters  of  contrapuntal  form.  Their 
efforts  led  to  the  adoption  of  Monody 


OPERETTA— Of»HICLEIDE. 


137 


{q.  V.)  as  an  art-style,  and  its  application 
to  dramatic  purposes.  The  first  opera 
g^ven  was  probably  "  Dafne "  (music 
by  Peri  and  Caccini,  book  by  Rinuccini) 
in  1594,  which  was  lauded  to  the  skies 
as  a  successful  return  to  the  musical 
declamation  of  the  ancient  Greek  trag- 
edy. The  dry  stilo  rappresentativo  of 
the  earliest  operas  was  improved  upon 
by  Monteverde  (i 568-1643),  who  em- 
ployed vocal  and  orchestral  resources 
with  a  freedom  undreamed  of  up  to  his 
time,  justly  earning  him  the  title  of 
"  father  of  the  art  of  instrumentation  ". 
His  orchestra  for  the  opera  "Orfeo" 
(1608)  is  given  below  : 

2  Gravicembani,  2  Contrabass!  di  Viola,  10 
Viole  da  Braccio,  i  Arpa  doppia,  2  Violiiii  pic- 
coli  alia  francese,  2  Chitarroni,  2  Organi  di 
legno,  3  Bassidagamba,  4  Tromboni,  i  Regale, 

2  Cornetti,  i  Flautina  alia  22da,  i  Clarino,  con 

3  Trombe  sorde. 

With  Alessandro  Scarlatti  (1659- 
1725)  begins  the  era  of  modern  Italian 
opera ;  the  sensuous  charm  of  melody 
asserts  itself  more  and  more  strongly  ; 
the  singer  becomes  master  of  the  situ- 
ation, and  operas  are  written  to  his 
order.  This  tendency,  early  transplant- 
ed with  Italian  opera  to  France  and 
Germany,  was  combatted  by  leading 
composers  of  those  countries  ;  Lully 
(1633-1687)  and  Gluck  (1714-1787) 
were  reformers  of  the  musical  drama  in 
ridding  vocal  dramatic  music  of  super- 
fluous melismas and  coloraturas,  making 
it  follow  throughout  the  course  and 
sense  of  the  action. — The  gratid  or 
heroic  opera,  with  its  full  choruses  and 
finales,  its  arias  and  recitatives,  and  all 
varieties  of  ensemble  (duets,  trios, 
quartets,  etc.)  is  a  growth  due  to  the 
grafting  of  Italian  opera  upon  the 
French  musical  stock,  and  is  the  style 
especially  affected  by  modern  French 
composers  ;  the  formal  plan  of  Italian 
opera  was  likewise  adopted  by  the  great 
German  composers,  but  with  an  infusion 
of  artistic  potency  and  sincerity  which 
raise  their  productions  far  above  the 
earlier  level  (Mozart,  Beethoven),  and 
a  tinge  of  German  romanticism  which 
lends  them  a  truly  national  color  (Weber, 
Marschner).  In  comedy-opera  the  Ital- 
ians were  also  pioneers  (Pergolesi, 
Cimarosa) ;  then  follow  the  French 
(Gretry),  and  lastly  the  Germans  (Mo- 
zart), all  in  the  18th  century.  Recent 
Italian  operas  show  a  distinct  reaction 
against  the  old  type,  and  bear  witness 
to  the  strong  influence  of  Germany  (par- 


ticularly of  Wagner).  France  continues 
in  the  footsteps  of  her  national  compos- 
ers (Gretry,  5lehul,  Boieldieu,  Adam, 
Ilerold,  Halevy,  Auber,  Meyerbeer, 
Gounod). — To  the  purification,  or  rather 
annihilation,  of  the  quasi-dramatic  form 
of  the  grand  opera,  Richard  Wagner 
(1813-1883)  devoted  all  the  powers  of 
his  marvelous  genius.  The  guiding 
principle  in  his  "  Musikdramen"  (musi- 
cal dramas)  is  the  harmonious  coopera- 
tion of  the  dramatic,  poetic,  scenic,  and 
musical  elements  ;  thus,  the  action  of  the 
drama  must  never  be  checked  or  veiled 
by  purely  musical  episodes,  however 
charming  in  themselves  ;  the  music  must 
illustrate  the  (emotional)  course  and  ef- 
fects of  the  action,  and  nothing  else. 
Hence  the  discontinuance  of  cut-and- 
dried  movements  and  leveling  of  tradi- 
tional forms,  the  rarity  of  full  cadences 
and  harmonic  sequences,  the  richly 
modulated  flow  of  inspired  vielos,  the 
absence  of  "  vain  repetitions"  of  words 
and  phrases,  the  uninterrupted  dramatic 
interpretation  by  the  orchestra  of  scenes 
and  moods. — Both  the  grand  opera  and 
the  Wagnerian  drama  find  zealous  ad- 
vocates and  imitp.tors  ;  these,  together 
with  operettes  of  most  various  com- 
plexion, are  the  typical  forms  of  musico- 
dramatic  composition  at  present.  The 
comedy-opera  varies  the  form  of  grand 
opera  by  the  interpolation  of  spoken 
dialogue . . .  Op^ra  bouffe  [formerly /5^«/- 
foit\  (Fr. ),  light  comic  opera ...  C/^ra 
buffa  (It.),  Italian  opera  of  a  light  and 
humorous  cast, — comic  opera  in  which 
the  dialogue  is  carried  on  in  reeiiativo 
secco,  instead  of  being  spoken . . .  Op/ra 
covtique  (Fr.),  comedy-opera  ...  0/irra 
jm^z  (It.),  serious  (grand,  heroic,  tragic) 
opera  ;  opp.  to  opera  buffa. 

Operet'ta  (It.;  Ger.  and  Fr.  Operet'te.) 
A  "little  opera  ",  with  reference  either 
to  duration  or  style  of  composition. 
The  text  is  in  a  comic,  mock-pathetic, 
parodistic,  or  anything  but  serious  vein; 
the  music  light  and  lively,  in  many 
cases  interrupted  by  dialogue.  The 
English  Ballad-operas  and  the  German 
Singspiele  are  varieties  of  the  operetta. 
Modern  masters  of  this  style  are  Offen- 
bach, Lecocq,  Strauss.  Sullivan,  etc. 

Oph'icleide.  (It.  Offcle'ide.)  The  bass 
instr.  of  the  key-bugle  family  (brass  in- 
struments with  keys),  now  little  used;  it 
was  made  in  various  sizes  and  of  differ- 
ent pitch  ;   (l)  as  bass  ophicleide  in  C, 


r38 


OPPOSITE    MOTION— ORCHESTRATE. 


B\),  and   A\),  compass  3  octaves  and 


a  s  e  m  1- 

tone, chro- 
matically 
asce  n  d- 
ing'  from: 
same,  \^z. 
b  u  t  1^ 
on  ' 
froi 
2^ 


ly 


(2)  as  alt- 
ophicUide 
in  F  and 
E^,  com- 
pass tlie 
:=z  upward ,  (3)  as 
J —  contrabass  ophi- 
^'      clfiUe    in    F    and 


'^  E[),  compass  only 
octaves,  pitched  an  octave  lower 
than  the  alt-ophicleide.  Only  the  bass 
ophicleide  was  for  a  time  in  compara- 
tively general  use.  (Riemann.)  Now 
superseded  in  the  orchestra  by  the  bass 
tuba  in  Ev). 

Opposite  motion.     Contrary  motion. 
Oppu're  (It.)    Or,  or  else;  abbr. (7//.   See 
Ossia. 

O'pus  (Lat.)     A  work  ;  abbr.  Op.  or  op. 

Orato'rio.  (Fr.  and  It.  ditto  ;  Lat.  and 
Ger.  Oratfl'i  ittm.)  An  extended  com- 
position of  dramatic  type,  for  vocal  soli 
and  chorus  with  orchestral  accomp., 
usually  having  a  text  based  on  Script- 
ure. It  is  distinguished  from  Opera 
mainly  by  the  absence  of  scenic  decora- 
tion and  of  stage-play  by  the  perform- 
ers, the  action  being  contained /w/Z/iiVc' 
in  the  words.  The  oratorio  takes  its 
name  from  the  oratory  in  which  the 
monk  Neri  (d.  1595)  held  discourses, 
illustrated  by  sacred  songs,  on  biblical 
history ;  similar  productions  of  a  mys- 
tical character,  and  a  growing  prepon- 
derance of  tlie  musical  element,  led  up 
to  the  first  known  oratorio  employing 
the  recitative  (E.  del  Cavaiiere's  "  Ani- 
ma  e  Corpo",  1600),  which  is  also  a 
distinctive  feature  of  the  opera.  At 
this  period  oratorios  were  given  with 
scenery  and  dramatic  action  {azio'ne 
sacra);  the  adoption  by  Carissimi  (d. 
l674)of  the  epical  part  of  the  A^arrator, 
rendered  both  superfluous.  The  modern 
oratorio,  with  full  orchestra,  recitatives, 
lyrical  soli,  and  the  grand  clioruses  (in 
their  solemn  and  majestic  breadth  the 
fundamental  characteristic  of  oratorio- 
style),  is  a  product  of  the  early  i8th 
century  (Haydn,  Handel).  (Comp.  .I/vj- 
tcries.  Passion,  Opera.) — Rubinstein's 
"  geistliche  Opern "  (sacred  operas, 
Paradise  Lost,  'Power  of  Babel,  Aloses, 
Ckristus)  are  also  called  oratorios,  al- 
though adapted  for  stage-performance, 
for  which  reason  they  are  playfully 
termed   "  Operatorios." 

Or'chestra.  (Ger.  Orches'ter;  Fr.  orches- 


tre.)  I.  A  place  reserved  {a)  in  the 
ancient  Greek  theatre,  for  the  chorus, 
between  audience  and  stage ;  {b)  in 
ancient  Rome,  for  seats  for  distin- 
guished personages,  in  the  same  place  ; 
(c)  in  the  modern  theatre,  for  the  band 
of  instrumentalists,  placed  in  front  of 
the  stage,  and  either  just  below  the  level 
of  the  lowest  seats  in  the  auditorium, 
or  (as  in  the  Wagner  theatre  at  I5ayreuth) 
sunk  still  lower,  and  provided  with  a 
half-roof  concealing  the  musicians  from 
the  audience.  Hence — 2.  {a)  A  com- 
pany of  musicians  performing  on  the 
instr.s  commonly  used  in  the  theatre  or 
concert-hall  in  opera,  in  oratorio,  etc., 
or  in  symphony-concerts  ;  (b)  the  instr.s 
so  played  on,  taken  collectively ;  as 
IVagiur's  orchestra,  a  svmphonv-orches- 
tra. — The  orchestral  instr.s  (compare 
Instruments)  are  classified  in  4  main 
groups:  (i)  The  strings  or  string- 
band  (violin,  viola,  violoncello,  double- 
bass);  (2)  K\\Qwood-wind  (flute,  piccolo, 
English  horn,  oboe,  bassoon,  double- 
bassoon,  clarinet,  basset-horn);  (3)  the 
brass-wind  (French  horn,  trumpet, 
trombone,  saxhorns,  bass  tuba,  cornet, 
[ophicleide]);  (4)  XhQ percussives  (kettle- 
drums, bass  drum,  snare-drum, cymbals, 
triangle,  bells,  gong,  and  likewise  the 
harp  and  pfte.,  though  the  latter  is  not 
generally  reckoned  as  an  orchestral 
instr.) — The  full  orchestra,  in  which  all 
the  above  groups  are  represented,  may 
be  either  z.  grand  orchestra  {symphony- 
orchestra)  or  small  orchestra;  the  for- 
mer should  contain  3  flutes,  2  oboes,  2 
clarinets,  2  bassoons,  2  trumpets,  4 
horns,  3  trombones,  and  a  pair  of  ket- 
tledrums, to  balance  which  there  should 
be,  in  the  "string-quartet",  about  14 
1st  violins,  14  2nd  violins,  g  violas,  9 
violoncelli,  and  6  double-basses  (orches- 
tra of  the  Gezvandhaus,  Leipzig);  this 
basic  grand  orchestra  may  be  enlarged 
ad  libitum  fas  for  the  modern  opera)  by 
doubling  the  principal  instr.s  or  by  add- 
ing others.  On  the  other  hand,  by  leav- 
ing out  the  trombones,  2  of  the  horns, 
and  even  the  kettledrums  and  clarinets, 
we  get  the  small  orchestra. — Groups  2 
and  3  constitute  what  is  called  the 
"  wind-band  ". 

Orches'tral  flute.  An  organ-stop  closely 
imitating  the  flute  in  timbre. 

Or'chestrate.  (Ger.  orchestrie'ren;  Fr. 
orchestrer;  It.  orchesirare.)  To  write 
or  arrange  music  for  orchestra. ..  (Pr. 


ORCHESTRE— ORGAN. 


130 


ihestra'tion,  the  art  of  writing  music 
for  performance  by  an  orchestra  ;  the 
science  of  combining,  in  an  effective 
manner,  the  instr.s  constituting  the 
orchestra.  [The  best  treatises  on  the 
instr.s  and  on  orchestration  are  by  Ge- 
vaert,  BerHoz,  and  Riemann.] 

Orchestre.  (Fr.)  Orchestra. .  .J  ^^aW 
orchestre,  for  full  orchestra. 

Orchestri'na  di  ca'mera.  One  of  va- 
rious small  keyboard  free-reed  instr.s, 
each  constructed  with  the  compass  and 
timbre  of  some  orchestral  instrument 
which  it  was  intended  to  replace,  such 
as  the  clarinet,  oboe,  or  bassoon  ;  inv. 
by  W.  E.  Evans,  about  i860. 

Orchestri'no.  A  kind  of  piano-violin 
imitating  in  tone  the  violin,  viola  d'a- 
more,  and  'cello  ;  inv.  by  Pouleau  of 
Paris  in  1 808. 

Orches'trion.  The  modern  0.  is  a  large 
stationary  barrel-organ  (^.  v.),  generally 
with  a  self-acting  mechanism,  and  imi- 
tating, by  means  of  a  variety  of  stops, 
various  orchestral  instr.s. — The  oj-ch. 
of  Abb6  Vogler  (inv.  towards  the  end 
of  the  18th  century)  was  a  "  simplified  " 
organ,  in  which  the  complicated  key- 
action  and  registers  were  abolished,  the 
pipes  standing  directly  behind  the  keys 
governing  them,  while  the  mixtures  and 
numerous  other  adjuncts  were  done 
away  with ;  it  also  had  a  Venetian 
swell,  and  for  the  16-foot  stops  he  sub- 
stituted a  combination  of  an  8-foot  stop 
and  a  fifth  (5>^-ft.) — an  idea  still  of 
utility. 

Ordina'rio.  (It.)  Common,  ordinary. . . 
Tempo  o.,  common  (4-4)  time. 

Or'gan.  (Lat.  or'ganum;  Ger.  Or'gel; 
Fr.  orgiie;  It.  o/gano.)  The  largest 
and  most  powerful  among  musical 
instr.s,  and  of  great  antitiuity,  trust- 
worthy accounts  reaching  back  to  the  2nd 
century  B.  C.  Up  to  the  loth  century 
A.  D.  the  organ  appears  to  have  been 
a  very  primitive  instr. ,  with  a  diatonic 
compass  of  2  octaves  at  most;  the  pipes 
were  all  flue-pipes,  constructed  in  much 
the  same  manner  as  at  present;  reed- 
pipes  were  not  introduced  until  the  15th 
century.  But  as  early  as  980  we  hear 
of  an  organ  at  Winchester,  England, 
which  had  400  pipes  and  2  manuals. 
each  with  a  compass  of  20  keys,  and 
with  10  pipes  to  each  key.  The  keys 
of  the  early  organs  were  so  broad,  and 
the   whole   action    so   clumsy,    that    in 


playing  the  plain-song  melo<lies  the 
clenched  iists,  or  even  the  elbows,  were 
used  to  depress  them.  Improvement 
has  been  steady,  and  chiefly  due  to  Ger- 
man, English,  and  French  organ-build- 
ers.— The  pipe-organ  (see  also  Reed- 
organ)  is  a  keyboard  wind-instr.  con- 
sisting of  few  or  many  sets  of  pipes 
controlled  by  one  or  more  keyboards. 
It  has  3  distinct  mechanisms  :  (1)  The 
wind-supply,  incl.  bellows,  windtrunk, 
windchest,  etc.;  (2)  the  pipes,  called 
collectively  the /z)!i;'-7w;-/Jv  (3)  the  key- 
boards, pedals,  and  stops,  called  collect- 
ively the  action,  and  under  the  player's 
direct  control. — (i)  The  wind  (com- 
pressed air)  is  obtained  from  a  weighted 
storage-hello-vs  filled  by  feeders;  from 
the  storage-bellows  the  wind  is  driven, 
by  pressure  of  the  weights  on  the  stor- 
age-bellows, through  a  hollow  wooden 
canal,  the  ivindtriink,  into  the  wind- 
chest,  a  wooden  wind-reservoir  beneath 
the  soundboard  on  which  the  pipes  are 
set;  the  wind  passes  up  through  the 
soundboard  by  way  of  ^vwrrx  separated 
by  bars,  and  leading  d  .ectly  to  the 
pipes;  the  grooves  are  closed  below  by 
pallets  (air-tight  valves)  opened  by  de- 
pressing the  keys,  and  above  by  sliders 
opened  by  pulling  out  the  draw-stops. 
— (2)  The  pipes  are  divided  into  2 
principal  groups,  Jlue-pipes  and  reed- 
pipes  (which  see;  also  comp.  Stop). 
They  are  held  in  position  over  the 
soundboard  by  the  upper-board,  into 
which  the  wcj't.f  of  the  pipes  are  inserted, 
and  ih&  pipe-rack,  a  board  pierced  with 
holes  to  admit  the  feci  of  the  pipes  and 
to  support  the  latter.  Each  set  of  pipes 
(a  stop  or  register)  is  ranged  in  one  or 
more  rows  above  a  slider,  which  is  a 
long,  narrow  strip  of  wood  with  holes 
corresponding  in  size  and  relative  posi- 
tion to  those  in  the  feet  of  the  pipes, 
and  pushed  back  and  forth  by  a  draw- 
stop;  when  the  latter  is  on  (out,  or 
drawn)  the  slider-holes  come  exactly 
under  the  pipe-feet,  so  that  wind  can 
pass  from  the  grooves  into  the  pipes; 
when  the  draw-stop  is  off  {\.  e.  in)  the 
slider-holes  are  out  of  position,  and  the 
pipes  cannot  speak. — (3)  The  action  : 
{a)  The  draw-stop  action  is  that  acting 
upon  the  sliders  by  means  of  a  system 
of  levers;  combination-pedals  (see  Pe- 
dal) are  compound  draw-stops.  .  .(^) 
The  keyboard-action  acts  upon  the  pal- 
lets closing  the  grooves;  when  a  key  is 
depressed,  its  rear  end  rises,  forcingup 


I40 


ORGANETTO— ORGANUM. 


an  upright  wooden  wand  called  a  sticker, 
which  raises  the  front  end  of  a  horizon- 
tal lever  called  a  backfall,  whose  rear 
end  in  turn  goes  down,  and  pulls  with 
it  a  tracker,  a  thin,  vertical  strip  of 
wood  bearing  on  its  upper  end  ihepitll- 
down  ox  pallet-'wire,  a  wire  attached  to 
z.  pallet  (valve)  closing  the  lower  side  of 
a  groove;  this  pull-down  thus  pullsdown 
the  pallet  and  admits  the  compressed 
air  to  the  groove  from  the  windchest;  if 
a  draw-stop  is  on,  so  that  the  wind  can 
enter  a  pipe,  the  pipe  will  speak  which 
corresponds  to  the  key  depressed.  This 
is  a  common  variety  of  key-action; 
squares  and  roller-boards  are  also  often 
interposed  between  the  stickers  and 
trackers;  more  recent  inventions  are 
the///£';/OTii'//Vandthe  electric  actions,  in 
which  the  depression  of  a  key  simply 
forms  a  connection  setting  the  com- 
pressed air  or  electric  current  at  work. 
.  .(r)  Couplers  are  mechanical  stops 
acting  to  connect  2  manuals,  or  pedal 
with  manual,  so  that  when  one  is 
played  on,  the  other  is  combined  with  it. 
A  4-manual  organ  often  has  as  many  as 
8,  namely,  4  manual-couplers  (Ch.toGt., 


* 


Sw.  to  Gt.,  Solo  to  Gt.,  Sw.  to  Ch.), 
and  \  pedal-couplers  (Gt.  to  Fed.,  Ch. 
to  Fed. ,  Sw.  to  Fed. ,  Solo  to  Fed. )  The 
organ-keyboards  are  usually  called  man- 
uals; there  may  be  from  i  to  5  (see  list 
below)  with  or  without  pedal-keyboard. 
Usual  compass  of  manuals,  4  octaves 
and  a  fifth,  with  56  keys  (sometimes  5 
full  octaves),  from  C  to  ^^ : 

Compass    of 

pedal,  up  to, 

-^2       octaves  j 

:andafourth,^ 

with3okeys:         "* 
This  notation,  however,  expresses  only 
a  part  of  the  full  compass, 
the        lowest       pedal-pipes 
yielding  Ci  (2  octaves  below 
and  the  highest  manual-pipes  (piccolo  i- 
foot)producing_^*  (3  octaves  higher  than 
~        the    total    compass    of     the 

P_N  organ  thus  being  9  octaves 
E'*'  and  a  fifth  (Cj  to  g^ ).— The 
"  stops  belonging  to  each 
manual  are  set  on  a  separate  sound- 
board or  set  of  soundboards,  and  con- 
stitute a  partial  organ. — The  nimes 
of  the  manuals  follow  : 


GERMAN. 


FRENCH. 


ITALIAN. 


ENGLISH. 

Gt.  org.  manual  Hriupt'werk  (Mnn.  1.)  Gmnd-orgue  d'  clavier)  Principale. 

Choir  manual  Un'terwerk  (M:ia.  II.)  Po=.itif  (2^  clavier)  Organo  di  coro. 

Swell  manual  Scliwell'werk  (Man.  III.)  Clav.  de  recit  (3'=  clavier)  Organo  d'espressione. 

Solo  manual  So'loHavier  (Man.  IV.)  Clav.  des  bonibardes  (4"  clav.)  Organo  d'assolo. 

Echo  manual  E'chokl:ivier  (Man.  V.)  Clav.  d'ccho  (5'  cl.ivier)  Organo  d'eco. 


Organet'to  (It.)     A  bird-organ  ;  a  bar- 
rel-organ. 
Organier  (Fr.)     Organ-builder. 

Organi'sta  (It.)     Organist. 

Organis'trum  (Lat.)     Hurdy-gurdy. 

Or'gano  (It.)  Organ  {(/.v.). . .  0.  pie' no, 
full  orga.x\.  .  .0.  porta' bile,  a  portable 
organ. 

Organochor'dium.  A  combined  pfte. 
and  pipe-organ  {Fr. piano  organis/);  the 
idea  originated  with  Abb6  Vogler. 

Organ-point.  (Ger.  Or'gelpunkt ;  Fr. 
point  d'orgue  ;  It.  pun' to  d'or'gano.)  A 
tone  sustained  in  one  part  to  harmonies 
executed  by  the  others.  It  is  ordinarily 
a  bass  note  (usually  the  tonic  or  dom- 
inant, or  even  both  combined),  and  is 
also  called  a  pedal-point,  or  pedal;  but 
a  tone  so  sustained  in  a  higher  part  is 
more  properly  termed  a  holding-note,  or 
simply  a  sustained  tone,  and  the  organ- 
point  is  then  sometimes  termed  inverted. 
— Pastoral  organ-point,  tonic  and  dom- 
inant sustained  together  in  the  bass. 


Or'ganum  (Lat.)  i.  An  instrument ; 
later,  an  organ. — 2.  The  earliest  at- 
tempts at  harmonic  or  polyphonic 
music,  in  which  the  parts  progressed  in 
parallel  fifths  and  fourths.  The  excru- 
ciating effect  of  this  diaphony  on  the 
modern  ear  has  led  investigators  to 
make  the  most  of  any  historical  evi- 
dence going  to  show  that  these  pro- 
gressions were  not  simultaneous,  but  of 
an  antiphonal  character  ;  it  appears  to 
be  established,  however,  that  they  were 
really  the  connecting  link  between  the 
earlier  chanting  in  octaves,  and  the  later 
contrapuntal  forms  slowly  developed 
out  of  the  oblique  and  contrary  motion 
in  certain  forms  of  the  organum,  due  to 
the  occasional  introduction  of  harmonic 
seconds  and  thirds. — Though  the  orga- 
nu/n  was,  properly,  thepa.n  added deloTo 
the  cantus  Jirntus,  the  term  is  generally 
applied  to  all  the  first  rude  attempts  at 
harmonic  composition,  whether  in  3 
parts  {diaphonid),  3  parts  {tripkonia,  the 
added  third  part  being  called  tripluin. 


ORGEL— OVERSPUN. 


141 


whence  our  treble),  or  4  parts  {tetr apho- 
nia).    The  examples  are  quoted  from 


Ambros,  and  are  of  the  time  of  Hue- 
bald  (A.D.  840-930): 


Tu        pa    -    tris       sem    -    pi 

Or'gel  (Ger.)  Oxz'a^w. .  .Or'gelgehciuse, 
organ-case. . .  Or'gelmctall,  organ-metal. 
. . Or'gt'lpunkt,  organ-point.  .  .  Or' gel- 
register,  organ-stop.  ..  6>/-'_r^d77w//',  ci- 
phering (also  Ileu'leii). 

Orgue  (Fr.)  Organ...  a  de  Barbarie, 
ox  a  cyli>idre,  barrel-organ.  .  .0.  expres- 
sif,  (a),  an  harmonium ;  (fi)  swell-or- 
gan. .  .0.  a  pereussion,  a  form  of  reed- 
organ  constructed  by  de  Provins  and 
Alexandre,  Paris. 

Orguinette.  A  mechanical  wind-instr. 
having  i  or  more  sets  of  reeds,  and  an 
e.\haust-bello\vs  ;  by  turning  a  crank 
the  bellows  is  operated,  and  a  perforated 
strip  of  paper  attached  to  2  rollers  is 
made  to  pass  over  the  reeds,  the  perfo- 
rations admitting  wind  to  the  reeds  and 
thus  producing  music. 

Ornament.  (It.  ornamen'lo;  Fr.  orne- 
ment;  Ger.  Verzie' rting.)  A  grace,  em- 
bellishment. .  .  Ornamental  note,  an  ac- 
cessory note. 

Ornatamen'te,  Orna'to  (It.)  Embel- 
lished, ornamented. 

Orpha'rion.     See  Orpheo'reon. 

Orph^on.  i.  In  France,  a  singing-society 
composed  of  men .  . .  Orpk/oniste,  a  mem- 
ber of  such  a  society. — 2.  A  piano- 
violin. 

Orpheo'reon,  or  -ron.  A  variety  of  cith- 
er, having-  a  flat  back,  and  ribs  with  more 
than  one  incurvation  on  either  side. 

Or'pheusharmonika  (Ger.)  Same  as 
P  anharmoni  kon. 

Oscillation.  (Ger.  Oszillaiion'.)  Vi- 
bration, or  beating. 

Osservan'za,  con  (It.)  With  care,  and 
attention  (to  the  signs). .  .Osse?-ja' to, 
carefully  observed ;  sti'le  osservato, 
strict  style. 

Ossi'a  (It.)  Or;  or  else;  indicates  an 
alternative  or  facilitated  reading  (or 
fingering)  of  a  passage.  (Also  oppure, 
ovvero.) 

Ostina'to  (It.)     OhsimdXQ. .  .Basso  o.,  a 


■    ter     -     nus        es  fi     -      li      -      us. 

ground  bass  ;  hence  the  use  of  ostinato 
substantively,  as  a  technical  term  for 
the  incessant  repetition  of  a  theme  with 
a  varying  contrapuntal  accomp. 

Otez  {dtez)  (Fr.)    Off  (in  organ-mus.) 

Otta'va (It.)  Octave . .  .All 'ottava  (usu- 
ally abbr.  to  Sva  or  S  or  (5'''''i'"~"),  "at 
the  octave",  an  octave  higher. — Also 
signifies,  in  scores,  that  one  instr.  is  to 
accompany  another  in  the  higher  octave. 
.  .CoH'ottava,  "with  the  octave,"!,  e. 
in  octaves ...  C.  alta,  the  higher  oc- 
tave... C.  bassa{Sva  bassa),  the  lower 
octave,  an  octave  below.  .  .  O.  rima,  an 
Italian  strophe  of  8  lines,  each  in  the 
heroic  metre  of  11  syllables,  the  first  6 
rhyming  alternately  and  the  last  2  form- 
ing a  couplet. 

Ottavi'na  (It.)  i.  An  octave-spinet. — 
2.  A  harpsichord-stop  controlling  a  set 
of  strings  tuned  an  octave  higher  than 
the  rest. 

Ottavi'no   (It.)      The   piccolo    {Jla'uto 

piccolo). 

Ottemo'le.     An  octuplet. 

Ottet'to  (It.)     An  octet. 

Otto'ne  (It.)     Brass. 

Ou  (Fr.)     Or.    (See  Ossia^f 

Ouie  (Fr.)     Sound-hole. 

Ouvert,-e  (Fr.)  Oi^^Vl.  .  .Accord h  Vou. 
vert,  a  chord  produced  on  open  strings 
of  stringed  instr.s.  .  .A  livre  onvcrt,  at 
sight. 

Ouverture  (Fr.),  Ouvertii're  (tier.) 
Overture. 

OverbloTv',  With  wind-instr.s,  to  force 
the  wind  through  the  tube  in  such  a 
way  as  to  cause  any  of  the  harmonics  to 
sound.  Metal  instr.s  (horn,  trumpet) 
are  in  most  cases  overblown  ;  wooden 
instr.s  (flute,  clarinet)  are  overblown  in 
the  higher  octaves. 

O'ver-chord.     See  Phone,  %\. 

Overspun'.  (Ger.    Uberspon'nen.)     Used 


142 


OVERSTRING— PANTALEON. 


for  covered  (strings),  the  correct  tech- 
nical term. 

Overstring'.  To  arransje  the  strings  of 
a  pfte.  in  2  sets,  so  that  one  set  lies 
over  and  diagonally  crossing  the  other  ; 
a  pfte.  sostrung  is  called  an  tn'c 7- strung 
pfte.  (Ger.  kreitz'saitig),  in  contradis- 
tinction to  vertical. 

O'vertone.     See  Acoustics. 

O'verture.  (Ger.  Ouvertii're;  Fr.  ouvcr- 
ture ;  \l.  OTertu'ra,  sin/oni'a.)  Amus. 
preludeor  introduction.  The  first  Ital- 
ian opera-overtures  were  simple  vocal 
(sung)  prologues,  or  instrumental  pre- 
ludes in  vocal  (madrigal-)  style  ;  with 
Scarlatti  the  overture  or  sinfouia  as- 
sumed a  purely  instrumental  character, 
and  was  written  in  three  divisions  (I 
allegro,  II  slow.  III  vivace,  presto); 
hence  Xh^overtureinsotiata-fonn,  with 
2  or  3  contrasting  themes  following  a 
short  and  slow  introductory  passage, 
and  repeated  after  a  more  or  less  ex- 
tended development-section,  but  differ- 
ing from  the  true  sonata-form  in  lack- 
ing the  characteristic  reprise  before  the 
development.  This  overture  in  sonata- 
form  is  the  parent  both  of  the  modern 
Symphony  and  of  the  Concert-overture 
(a  term  derived  from  the  custom  of  per- 
forming real  opera-overtures  as  separate 
concert-pieces),  in  which  latter  the 
above  form  is  usually  adhered  to. — Op- 
era-overtures not  in  this  form  are  either 
potpourris  of  leading  mus.  numbers 
taken  from  the  body  of  the  work,  or 
preludes  {symphonic poems)  treating  and 
blending  themes  occurring  in  the  mu- 
sical drama  in  the  form  of  an  independ- 
ent composition,  with  the  intention  of 
preparing  the  hearers  for  the  coming 
action  ;  such  preludes  have  neither  a 
regular  key-plan,  nor  any  conventional 
formal  method  of  construction. 

OVvero  (It.)     Or.     (See  Ossia:) 

P. 

P.  Abbr.  of  Pedal  (P.  or  Fed.)  ;  piano 
(p)  ;  //,  or  ppp,  pianissimo;  P.  ¥.,  pi- 
anoforte; pf,  {a)  pi u  forte  (louder),  (<^) 
poco  forte  (rather  loud) ;  fp,  fortepiano 
(i.  e.  loud,  instantly  diminishing  to 
soft) ;  mp,  mezzo-piano  (half-soft) ;  of 
Pointe  {¥r.,  =  toe);  and,  in  Fr.  organ- 
music,  P  stands  for  Positif  (choir- 
organ). 

Padiglio'ne  (It.)     Bell  (of  horn,  etc.) 


Padova'na  (It.)  Same  as  Pavane.  (Also 
Padovane^  Paditana,  Paduane,  etc.) 

Pae'an  (Gk.)  A  hymn  to  Apollo ;  a 
hymn  of  invocation  or  thanksgiving  to 
Apollo  or  other  help-giving  god. 

Pse'on  (Gk.)  A  metrical  foot  of  4  syl- 
lables, I  long  and  3  short.  It  has  4 
forms  according  to  tlie  place  occupied 
by  the  long  syllable ;  namely,  first 
p,ron  ( — ^^  -—^  ^-'),  second  (— '  — •  •~-'  ^~--), 
t/iird  (^^  ^-^  —  ^),    and  fourth  pceon 

Paired  notes.  A  proposed  equivalent,  in 
pfle.-technic,  for  the  term  double-stops 
on  the  violin,  and  for  the  Ger.  Dop'pel- 
griffe;  i.e.  2  parallel  series  of  notes 
played  with  one  hand,  as  thirds,  si.xths, 
and  octaves. 

Palala'ika.     See  Balalaika. 

Pal'co  (It.)     A  stage  ;  a  box  (theatre). 

Palestri'nastil  (Ger.  ,  "Palestrina- 
style  ".)  Fquiv.  to  a  cappella  style  (It. 
alia  Palestrina). 

Palettes  (Fr.,  pi.)  The  white  keys  of 
the  keyboard  ;  opp.  to  feintcs,  the  black 
keys. 

Palimbac'chius.  See  Atitibacchius  and 
Pace  hi  us. 

Pan'dean  Pipes.  (Also  Pan's-pipes, 
.Syrinx.)  A  simple  wind-instr.,  known 
in  slightly  varying  forms  from  earliest 
antiquity  ;  it  consists  of  a  set  of  gradu- 
ated reeds  or  tubes  arranged  in  a  row 
and  blown  by  the  mouth.  The  Grecian 
instr.  usually  had  7  tubes. 

Pando'ra,  Pandu'ra,  etc.  See  Pandola. 

Pan'fiote  (Ger.)  Pandean  pipes.  (.\lso 
Pans/lote.) 

Panharmon'icon,  A  variety  of  self- 
acting  orchestrion,  inv.  by  J.  N.  Miilzel 
of  Vienna  in  1800. 

Panmelo'dion.  A  kojboard  instr.,  the 
tone  of  which  was  produced  by  the 
friction  of  wheels  on  metal  bars  ;  inv 
by  Fr.  Leppich,  in  18 to. 

Panorgtie  (Fr.)  A  miniature  reed-organ 
attached  beneath  and  played  by  the 
keyboard  of  a  pfte.;  the  combined  instr. 
is  named  a  paiuvgue-piano,  Inv.  by 
J.  Jaulin  of  Paris. 

Pantareon,  Pan'talon.  An  improved 
dulcimer,  inv.  in  1690  by,  and  named 
after,  Pantaleon  I  lebenstreit;  a  precursor 
of  the  pfte.  It  was  4  times  as  large  as 
the  ordinary  dulcimer,  and  oblong  in 
shape;  had    2    soundboards,  as    of    2 


PANTALON— PART-SONG. 


143 


instr.s  standing  close  together  ;  was 
strung  on  one  side  with  steel  and  brass 
wires,  and  on  the  other  with  gut  ;  the 
2  wooden  mallets  in  the  player's  hands 
were  sometimes  used  with  the  softer 
face,  sometimes  with  the  harder. 

Pantalon  (Fr.)  The  first  figure  or  move- 
ment in  the  old  quadrille. 

Pan'talonzug  (Ger.)  "  Pantalon-stop"; 
a  harpsichord-stop  which  neutralized 
the  action  of  the  damping  mechanism, 
and  thus  produced  the  confused  effect 
peculiar  to  the  I'antalon. 

Par'allel,  See  Interval,  Key,  Jifotion. 
.  . Parallel' bewegung  (Ger.),  parallel 
(and  also  similar)  motion.  .  .ParalWlen 
(Ger.,  pi.),  (rt)  sliders  (in  the  organ); 
(^)  consQC\\\.\ves. ..  Par  a  lie  I'  to7ia  rt  (Ger.), 
a  relative  (major  or  minor)  key. 

Par'aphrase.  A  transcription  or  re- 
arrangement, of  a  vocal  or  instrumental 
composition,  for  some  other  instr.  or 
instr.s,  with  more  or  less  extended  and 
brilliant  variations. 

Parfait  (Fr.)  Perfect  (of  intervals) ;  com- 
plete (of  cadences);  true,  pure  (of  inton- 
ation); strong,  accented  (of  beats). 

Parhyp'ate.     See  Lyre  i. 


Soprano 
Alto 

Tenor 
Bass 

Par'te  (It.)  I.  Vart.  .  .Colla  f arte,  a 
direction  to  accompanists  to  follow 
yieldingly  and  discreetly  the  solo  part 
or  voice. — 2.  A  movement. 

Partial  stop.  Sqq  Stop..  .Partial  tone, 
see  Acoustics.  .  .Partial  turn,  see 
Turn  I. 

Participating-tone.     See  Accessory. 

Particular  metre.     See  Metre. 

Partiraea'to  (It.)  A  figured  bass... 
Partimenti  (pi.),  exercises,  generally 
written  on  a  figured  bass,  for  training 
students  to  read  and  accompany  from 
such  a  bass. 

Parti'ta  (It.),  Partie' (Ger.)  i.  See 
Suite. — 2.     A  set  of  variations. 

Partiti'no  (It.)  A  supplementary  score, 
appended  to  the  body  of  the  score  when 
there  are  too  many  parts  for  all  to  be 
written  on  one  page. 

Partition  (Fr.),  Partitur'  (Ger.),  Par- 


Parlan'do,  Parlan'te  (It.)  "  Speaking"; 
a  style  of  singing  resembling  recitative 
in  clear  enunciation,  the  vowel-sounds 
being  markedly  "  thrown  forward." 

Part.  (Ger.  Part,  Stim'me;  Fr.  partie, 
voix;  It.  par'te,  vo'ce.)  In  concerted 
music,  the  series  of  tones  written 
for  and  executed  by  a  voice  or  instr. , 
either  as  a  solo  or  together  with  other 
voices  or  instr.s  of  the  same  kind  ;  a 
melody  so  performed. 

Part-book.  i.  (Ger.  St i mm' buck.)  A 
written  or  printed  part  for  a  single 
performer,  like  those  in  vogue  during 
the  15th  and  i6th  centuries.— 2.  (Ger. 
Chor'buch.)  A  book  of  that  period, 
containing  4  vocal  parts  (sometimes 
with  added  instrumental  accomp.),  not, 
as  at  present,  in  score,  but  each  on  a 
separate  staff  side  by  side  with  the 
others  (can'tus  latera'lis),  and  on  oppo- 
site pages  ;  the  fragments  of  the  several 
parts  so  corresponding,  of  course,  that 
the  leaf  could  be  turned  for  all  at  the 
same  time.  Some  were  so  printed,  that 
singers  on  opposite  sides  of  the  table 
could  read  from  the  same  open  book. 
The  diagrams  give  a  notion  of  this 
peculiar  arrangement : 


jouax 
Alto 

OUBidog 

Bass 

titu'ra  (Lat.  and  It.)  A  partition, 
score.  .  .  Parti tura  cancella' ta,  a  system 
of  staves  scored  (hence  Engl.  Score)  by 
the  vertical  lines  of  the  bars  drawn  from 
top  to  bottom. 

Part-music.  Concerted  or  harmonized 
music;  a  term  properly  applied  to  vocal 
music  of  this  description.  (See  Part- 
song.) 

Part-singing.  The  singing  of  part- 
music;  as  generally  understood,  with- 
out instrumental  accomp. 

Part-song.  A  composition  for  at  least 
3  voices  in  harmony,  without  accomp. 
[and  for  equal  or  mixed  voices]. — The 
first  requisite  of  the  music  is  well-defined 
rhythm,  and  the  second  unyielding 
homophony. .  .Tunefulness  in  the  upper 
part  or  melody  is  desirable,  and  the 
attention  should  not  be  withdrawn  by 
elaborate  devices  of  an  imitative  or  con- 
trapuntal nature  in  the  harmonic  sub- 


144 


PART-WRITING— PASTORAL. 


structure. .  .The  part-song  being  essen- 
tially a  melody  with  choral  harmony, 
the  upper  part  is  in  one  sense  the  most 
important .  .  .  The  words  may  be  either 
amatory,  heroic,  patriotic,  didactic,  or 
even  quasi-sacred  in  character.  .  .The 
part-song.  .  .is  one  of  three  forms  of 
secular  unaccompanied  choral  music, 
the  others  being  the  madrigal,  and  the 
glee...  Like  the  madrigal  and  unlike 
the  glee,  the  number  of  voices  to  each 
part  may  be  multiplied  within  reason- 
able limits.     [Grove.] 

Part -writing.  The  art  and  practice  of 
counterpoint. 

Pas  (Fr.,  iiotoi.)  A  step  ;  also,  a  solo 
dance  in  a  ballet. .  ./"(Jj  (U  deux,  a 
dance  performed  by  2  dancers. .  .Pas 
redouble,  quickstep.  .  .Fas  sail,  a  solo 
dance.  .  .{Adver/>.)  Not;  as  J'as  trap 
lent,  not  too  slow. 

Paspy.     See  Passepied. 

Passaca'glia,  or  -glio  (It.;  Fr.  passa- 
caille;  Ger.  Gas'senkaitei:)  An  old 
Italian  dance  in  triple  time  and  stately 
movement,  written  on  a  ground  bass  of 
4  measures,  whose  theme  sometimes 
appears  in  a  higher  part.  It  was  always 
in  minor,  and  is  hardly  distinguishable, 
as  an  instrumental  piece,  from  the 
Ciaccona. 

Passacaille  (Fr.)     Passacaglia. 

Passage.  I.  A  portion  or  section  of 
a  piece,  usually  short. — 2.  A  rapid 
repeated  figure,  either  ascending  or 
descending.  A  jra/f-passage  is  usually 
called  a  run.  .  .N'oies  de  passage  (Fr.), 
grace-notes. 

Passag'gio  (It.)  Passage  i. — 2.  A  mod- 
ulation.— 3.  A  flourish  or  bravura  em- 
bellishment, either  vocal  or  instru- 
mental. 

Passamez'zo  (It.)  An  old  Italian  dance 
in  duple  time,  and  similar  to  the  Pavane 
except  in  having  a  more  rapid  move- 
ment. 

Passant  (Fr.)     Slide  (of  bow). 

Passepied  (Fr.)  A  paspy,  an  old  French 
dance  in  3-8  or  6-8  time,  generally 
beginning  with  an  eighth-note  on  the 
weak  beat,  and  having  3  or  4  reprises 
in  an  even  number  of  measures,  the 
third  reprise  being  short,  and  sportive 
or  toying;  like  the  minuet  in  movement, 
but  quicker. 

^■'  Passing-notes.-tones.     Notes  or  tones 
''       foreign  to  the  chords  which  they  accom- 


pany, and  passing  by  steps  from  one 
chord  to  another.  They  differ  from 
suspensions  in  not  being  prepared,  and 
in  entering  (usually)  on  an  unaccented 
beat. 

Passion,  Passion-music.  A  musical 
setting  of  a  te.\t  descriptive  of  Christ's 
sufferings  and  death  (passion).  Its  be- 
ginnings are  traceable  back  to  the  4th 
century  ;  the  oldest  music  e.xtant  is  a 
solemn  plain-song  melody  of  uncertain 
date  {can'ius  passio'nis).  In  a  quasi- 
dramatic  form  the  passion  is  of  later 
origin  ;  and  possibly  directly  derived 
from  the  ancient  custom  of  chanting 
the  scriptural  text  of  the  passion,  dur- 
ing passion-week,  to  Gregorian  melo- 
dies. It  is  certain,  that  from  early 
in  the  13th  century  (i)  the  words  spoken 
by  Christ,  (2)  the  connecting  narrative, 
and  (3)  the  exclamations  of  the  apostles, 
the  populace,  the  high  priest,  etc.,  were 
recited  by  3  different  singers  (imperson- 
ating Christ,  the  Evangelist,  the  Dis- 
ciples, etc.)  The  evolution  of  the  Pas- 
sion as  an  art-form  is,  after  the  i6th 
century,  nearly  parallel  with  that  of  the 
Oratorio  (which  see) ;  from  its  resem- 
blance to  the  latter  it  is  sometimes  styled 
"  passion-oratorio".  It  differs  from  it, 
however,  by  a  distinct  infusion  of  an 
element  of  pious  contemplation,  and 
subjective  emotion,  expressed  in  hymns 
of  praise  and  choral  songs,  devotional 
arias  and  choruses.  The  crowning  work 
of  this  kind  is  Bach's  "  Mattha'uspas- 
sion  "  (Passion  according  to  St.  Mat- 
thew).— The  full  dramatic  form  of  the 
Passion,  with  stage-setting  and  dramatic 
action,  still  survives  in  the  German 
Passion-plays  at  Oberammergau. 

Passionatamen'te  (It.)  Passionately, 
in  an  impassioned  style.  .  .Passio?ia'to,' 
a,  passionate,  impassioned.  ..Passio'ne, 
passion,  fervent  emotion;  con  p.,  same 
as  appassionato. 

Passionn6  (Fr.)     Passionato. 

Pastic'cio  (It.),  Pastiche  (Fr.)  Amus. 
medley  or  olio  consisting  of  extracts 
(songs,  arias,  recitatives)  from  different 
works,  pieced  together  and  provided 
with  new  words  so  as  to  form  a  "  new  " 
composition,  as  an  opera  (Ger.  Flick- 
oper),  etc. 

Pastoral.  (It.  and  Fr.  pastora'le.)  i. 
A  scenic  cantata  representing  pastoral 
or  idyllic  life  ;  a  pastoral  opera. — 2.  An 
instrumental  composition  imitating  in 
style    and    instrumentation    rural    and 


pASTORITA— PEDAL. 


M5 


idyllic   scenes. — Pastoral  organ-point, 
see  Organ-point. 

Pastori'ta.     See  A'achtlwrn. 

Pastourelle(Fr.)  i.  A  bucolic  song,  as 
sung  by  the  troubadours. — 2.  A  figure 
in  the  quadrille. 

Pateticamen'te  (It.),  Path6tiquement 
(Fr.)  Pathetically... /"a/Z/^Vc?  (It.), 
pathitique  (Fr.),  pathetic. 

Patimen'to  (It.)  Suffering,  grief  ;  con 
espressio'ne  di  p.,  with  mournful  or 
plaintive  expression. 

Patouille  (Fr.)     Same  as  Claqttebois. 

Patte  (Fr.,  "paw".)  i.  A  music-pen 
2. — 2.  A  special  key  on  the  clarinet. 

Pau'ke(Ger.)  Kettledrum.  .  .Maschinen- 
pauke,  see  Masckinen. 

Pa'usa  (It.)    A  rest ;  a  pause. 

Pause.  I.  A  rest. — 2.  A  hold  (^). — 3. 
(Fr.)     A  whole  rest,  semibreve-rest. 

)Pav'an,-e.  A  stately  dance  of  Italian 
or  Spanish  origin,  in  slow  tempo  and 
alla-breve  time.  [Probably  of  Italian 
origin,  the  It.  pava' na  (abbr.  of  pado- 
va'na)  referring  to  a  peasant-dance  of 
the  province  of  Padua.] 

Paventa'to  (It.)    Afraid,  fearful. 

Pavilion  (Fr.)  Bell  (of  a  wind-instr.). 
.  .P.  chinois,  a  crescent. .  .Flute  a  p., 
an  organ-stop,  the  pipes  of  which  have 
a  flaring  top.  .  .Pavilion  en  Pair,  "  turn 
the  bell  upwards  "  ;  a  direction  to  horr*- 
players. 

Peal.  I.  See  Change  2- — 2.  A  chime  of 
bells  ;  a  carillon. 

Pearly.  (Ger.  per'lend;  Fr.  perl,!?)  In 
piano-technic,  a  style  of  touch  produc- 
ing a  clear,  round,  and  smooth  effect  of 
tone,  especially  in  scale-passages  ("  like 
a  string  of  pearls  "). 

Pedal.  (Ger.  Pedal';  Fr.  pAiale;  It. 
peda'te.)  I .  A  foot-key  ;  opp.  to  digi- 
tal (see  Organ  and  Pedal-piano). — 2.  A 
foot-lever  ;  as  the  swell-pedal  of  the 
organ,  the  loud  and  soft  pedals  of  the 
pfte.,  or  the  pedals  of  the  harp. — 3.  A 
treadle,  as  those  used  for  blowing  the 
reed-organ,  etc. — 4.  A  stop-knob  or 
lever  controlled  by  the  foot,  as  a  com- 
bination-pedal in  the  organ. —  5.  Con- 
traction of  Pedal-point. — Pedal-action, 
the  entire  mechanism  directly  connected 
with  a  pedal  or  set  of  pedals .  . .  Pedal- 
check,  a  bar  under  the  organ-pedals 
which  can  be  so  adjusted  (often  by  a 
gtop-knob)    as   to  prevent    them    from 


being  depressed. .  .Pedal-cot^pler,  se« 
Coupler .  .  .  Pedal-keyboard,  the  organ- 
pedals  (see  Organ).  .  .Pedal-note,  see 
Pedal-tone .  .  .Pedal-organ,  the  set  of 
stops  (partial  organ)  controlled  by  the 
pedal-keyboard  in  p\z.Y\x\^. .  .Pedal-pi- 
ano, a  pfte.  provided  with  a  pedalier. . . 
Pedal-pipe,  -souttdboard,  -stop,  one  be- 
longing to  the  pedal-organ . . .  Pedal- 
point,  see  Organ-point.  .  .Pedal-tone,  a 
sustained  or  continuously  repeated  tone. 
.  .  Combination-pedal,  a  metal  foot-lever 
placed  above  the  pedal-keyboard  of  an 
organ,  and  giving  the  player  control 
over  a  certain  combination  of  stops. 
It  is  single-acting  when  it  only  draws 
out  new  stops  in  addition  to  those  al- 
ready drawn,  or  pushes  in  some  of  the 
latter  ;  £vnd  double-acting,  when  it  al- 
ways produces  the  same  combination, 
whatever  stops  were  or  were  not  pre- 
viously drawn.  Comb. -pedals  are  of  3 
kinds:  (i)  The  forte  pedal,  drawing 
all  the  stops  of  its  keyboard  ;  (2)  the 
mezzo  pedal,  drawing  the  chief  8-foot 
and  4-foot  stops  of  its  keyboard  ;  and 
(3)  i\\Q  piano  pedal,  pushing  in  all  but  a 
few  of  the  softest  stops .  .  .  Composition- 
pedal,  a  combination-pedal .  .  .  Coupler- 
pedal,  see  Pedal-coupler.  .  .  Crescendo- 
pedal,  a  pedal  mechanism  drawing  all 
the  stops  successively  up  to  "full  or- 
gan". (Also,  occasional  for  swell- 
pedal.)  .  .  .  Damper-pedal,  the  right  pfte.- 
pedal,  on  depressing  which  the  dampers 
are  raised  from  the  s\.r\ngs.  .  .Ditnin- 
uendo-pedal,  the  reverse  of  crescendo- 
pedal,  retiring  successively  the  stops 
drawn  by  the  latter.  .  .Extension-pedal, 
see  Loud  pedal. .  .Harp-pedal,  same  as 
soft  pedal .  .  .  Loud  or  open  pedal,  the 
damper-pedal  on  the  phe.. .  .Octave- 
pedal  (A.  B.  Chase  Co.'s,  for  pfte.), 
acts,  when  depressed,  in  such  a  way 
that  when  a  key  is  struck,  the  higher  oc- 
tave of  the  tone  is  also  sounded.  (Usu- 
ally Octavo  attachment.).  .  .Prolonga- 
tion-pedal, see  Sustaining-pedal. .  .Pe- 
versible  pedal,  a  pedal-coupler.  .  .  Sfor- 
zando-pedal,  a  pedal  in  the  organ  which 
brings  out  the  full  power  of  the  instr. 
for  the  production  of  a  sudden  and  for- 
cible accent.  .  .  Soft  pedal,  the  left  pedal 
of  the  pfte . .  .  Sustaining-pedal,  a  piano- 
pedal  acting  to  hold  up  any  dampers  al- 
ready raised  by  the  damper-pedal,  by 
this  means  prolonging  the  tone  of  all 
strings  affected . .  .  Swell-pedal,  a  foot- 
lever  in  the  organ,  by  depressing  which 
the   shutters   of   the   swell-box  can  be 


U6 


PEDALE— PEU   A   PEU. 


opened  ;  tliey  close  when  the  pedal 
is  released. — Balance  s-.i'cll-pedal^  the 
modern  form  of  organ  swell-pedal  : — a 
lever  in  the  shape  ofan  iron  plate  made 
to  fit  the  shoe-sole,  and  placed  above 
the  centre  of  the  pedal  board.  Depres- 
sion of  the  toe-end  of  the  plate  opens 
the  swell-shutters ;  depression  of  the 
heel-end  closes  them.  Called  balance 
s.-p.  because  it  remains  at  rest  (bal- 
anced) wherever  the  foot  leaves  it. 

P6dale  (Fr.)  i.  A  pedal-key,  the  pedal- 
keyboard  being  clavier  des  pedales. — 2. 
Pedal  (of  the  pfte.);  petite  pe'dale,  soft 
pedal,  "una  corda". — 3.  A  pedal- 
point. 

Peda'le  dop'pio  (It.)  Same  as  Doppio 
pedale. 

Pedal'fliigel  (Ger.)  A  grand  piano  pro- 
vided with  a  pedal  ier. 

Ped'alier.  (Fr.  p/dalier.)  A  set  of 
pedals,  either  (i)  so  adjusted  as  to  play 
the  low  octaves  of  the  pfte.  after  the 
manner  of  organ-pedals,  or  (2)  provided 
with  separate  strings  and  action,  to  be 
placed  underneath  the  pfte.  and  played 
with,  but  not  affecting  the  action  of,  the 
latter.     (.Sometimes  Pedalion.) 

Pedalie'ra  (It.)    A  pedal-keyboard. 

Pedal'klaviatur  (Ger.)  A  pedal-key- 
board ;  either  a  pedalier,  or  for  the 
organ. 

Peg.  I.  (Ger.  JVir'bel;  Fr.  cheville;  It. 
bi'schero.)  In  the  violin,  etc.,  one  of 
the  movable  wooden  pins  set  in  the 
head,  and  used  to  tighten  or  slacken  the 
tension  of  the  strings.  .  ./'^'^-i^t'jr,  the 
hollow  part  of  a  violin-head  in  which 
the  pegs  are  inserted. — 2.  A  tuning-pin. 

Pennant.     Same  as  Hook. 

Pensieroso  (It.)  Pensive,  contempla- 
tive, thoughtful. 

Pentachord,     i.  A  5-stringed  instr. — 2. 

A  diatonic  series  of  5  tones. 
Pentam'eter.     A  form  of  dactylic  verse, 

differing    from    the   hexameter   by  the 

ellipsis  of  the  second  half  of  the   3rd 

and  6th  feet  : 

Pentatone.  An  interval  embracing  5 
whole  tones  ;  an  augmented  sixth . .  . 
Pentaton'ic,  having,  or  consisting  of,  5 
tones  ;  pentatonic  scale,  see  Scale. 

Per  (It.)  For,  by,  from,  in,  through. .  . 
Per  Por'gano,  for  the  organ.  .  .Per  il 
Jlauto  solo,  for  solo  flute. 


Percussion.  I.  The  striking  or  sound- 
ing of  a  dissonance,  contradistinguished 
from  its  preparation  and  resolution. — 2. 
The  act  of  percussing,  or  striking  one 
body  against  another.  The  instruments 
of  percussion  are  the  various  drums, 
the  tambourine,  cymbals,  bells,  triangle, 
etc.,  and  the  dulcimer  and  pianoforte. 
.  .Percussion-stop,  a  reed-organ  stop 
used  to  strike  the  reed  a  smart  blow 
simultaneously  with  sounding  it,  thus 
rendering  its  vibration  prompter  and 
stronger. 

Percussive.     An  instr.  of  percussion. 

Perden'do,    Perden'dosi   (It.)      Dying 
'  away  ;    morendo    or    diminuendo,     to- 
gether (in  modern  music)  with  a  slight 
rallentando. 

Perdu'na.     Bourdon  (organ-stop). 

Perfect.  (Ger.  rein;  Fr.  par/ait;  It. 
perfet'to.)     See  Interval. 

Perfection.  I.  See  Notation,  %  3. — 2. 
In  ligatures,  the  presence  of  a  longa  as 
final  note  {ul'tinia),  which  occurred 
when  a  higher  penultimate  note  was 
not  joined  with  the  final  as  a  figura 
obliqua  ( |&  ),  or  when,  after  a  lower 
penultimate  note,  the  final  took  a  de- 
scending tail  to  the  right  (since  the  15th 
century;  from  the  12th  to  the  14th 
this  tail  signified  a  plica,  and  to  secure 
the  perfection  of  the  final  note  it  was 
written  vertically  over  the  penultimate). 
(See  Figura  obliqua,  ex.  in  black  notes  ; 
also  N'oiation,  §3.) 

P6rigourdine  (Fr.)  An  old  Flemish 
dance  in  6-8  time. 

Period.     See  Form. 

Perl6  (Fr.),  Per'lend  (Ger.)     Pearly. 

Perpe'tuo  (It.)     Perpetual ;  infinite. 

Pes  (Lat.,  "  foot  ".)  An  harmonic  ac- 
comp.  or  ground  bass  to  a  round,  the 
round  itself  being  called  rota. 

Pesan'te  (It.)  Heavy,  ponderous  ;  calls 
for  a  firm  and  vigorous  execution  of  the 
passages  so  marked. 

Petite  (Fr.)  SmaXX. .  .Petite  fliUe,  the 
piccolo.  .  .Petite  mesure  a  deux  temps, 
2-4  time .  . .  Petites  notes,  grace-notes. . . 
Petite  pedale,  soft  pedal. 

Pet'to  (It.)  The  chest. .  .Di petto,  from 
the  chest,  i.  e.  in  a  natural  voice,  not 
falsetto. . .  Voce  di  petto,  chest-voice. 

Peu  a  peu  (Fr.)  Little  by  little,  grad- 
ually. . .  Un  peu,  a  little. 


PEZZO— PHONE. 


147 


Pez'zo  (It.)  I.  A  ^\ece.  .  .Pezzi  conct-r- 
tan'ti,  concerted  pieces. — 2.  A  number 
(of  an  opera,  etc.) 

Pfei'fe  (Ger.)  A  pipe  ;  specifically,  an 
organ-pipe.  The  technical  name  of  the 
I -foot  stops  is  -p/eift\  as  Bau'ernpfeife. 

Phantasie'  (<ier.)  Fancy,  imagination. 
.  .Phantasie' stuck,  a  fantasia  ;  in  mod- 
ern music,  a  short  piece  of  a  romantic 
and  intensely  subjective  cast,  without 
distinctive  formal  structure.  .  ./'/iiz«- 
tasie'ren,  to  \m^xo\\se.  .  .Phantasier'- 
maschine,  any  kind  of  meiograph. 

Philom^le.  See  Bow-zither,  under 
Zither, 

Phonau'tograph.  An  electric  music- 
recorder  for  keyboard  instr.s,  inv.  by 
Fenby,  in  which  a  stud  attached  under 
each  key  makes  an  electric  connection 
when  the  key  is  depressed,  and  thus 
marks,  on  paper,  lines  corresponding  in 
length  to  the  duration  of  the  notes.  . . 
Another,  inv.  by  the  Abbe  Moigno,  re- 
cords the  tones  (sounded  or  sung)  by 
the  aid  of  a  pencil  fitted  to  a  sort  of 
drum,  the  membrane  of  which  vibrates 
to  the  tones. 

Phone.  §1.  It  forms  no  part  of  a  com- 
piler's work  to  introduce  new  words  on 
his  personal  responsibility  ;  but  the 
terms  "tone",  "clang",  and  "sound" 
being  already  appropriated,  a  distinctive 
and  exact  equivalent  had  to  be  em- 
ployed in  rendering  the  German 
"  Klang"  as  used  in  modern  musical 
theory.  The  Greek  word  ^(ji't/,  in  the 
English  form  phone,  appeared  to  be 
a  fairly  acceptable  neologism. — A. phone, 
then,  will  be  understood  as  signifying 
not  only  a  tone  with  its  overtones  and 
undertones  ( fyndall's  "clang"),  but 
specifically  the  major  triad  (generator 
and  higher  partials  [2]  3  [4]  and  5)  or 
over-phone,  and  the  minor  triad  {gener- 
ator and  /o7aer  partials  [2]  3  [4]  and  5) 
or  tinder-phone.  [N.B.  Over-phone 
and  under-phone  are  also  called  over- 
chord  and  under-chord  respectively. — 
In  the  subjoined  statement  of  the 
modern  theory  of  chords,  Riemann  is 
followed.] 

§2.  There  can  be  no  doubt,  that  the 
oonsonance  of  the  major  triad  (major 
consonance)  is  referable  to  the  series  of 
higher  partials  (see  Acoustics),  i.  e.  that 
a  major  triad,  however  the  tones  maybe 
set  or  inverted,  is  to  be  conceived  as  a 
consonance    in    which    certain  higher 


partials  of  the  root   are   reinforced  by 
actual  tones.      E.  g. , 


Moreover,  the  generator  accompanying 
each  phone  represented  above,  is  always 
present  as  a  resultant  tone.  But  the 
series  of  partials  not  only  completes 
itself  do7vmvards  to  the  generator  by 
means  of  the  resultant  tones,  but  con- 
tinues itself  upiuards  by  the  aid  of  the 
upper  partials  of  the  primary  overtones. 
Those  overtones,  above  the  8th,  which 
are  represented  by  composite  numbers 
(9=3  X  3,  15  =  3  X  5,  etc.),  are  conceived 
as  overtones  of  overtones  {secondary 
overtones);  i.  e.  as  integral  constituents 
of  the  primaries  (the  9th  overtone  as 
the  3rd  of  the  3rd  primary,  the  15th  as 
the  5th  of  the  3rd  primary,  etc.),  and, 
sounded  as  notes  of  an  actual  chord, 
appear  as  dissonances ;  that  primary 
overtone,  whose  overtones  they  are,  has 
the  character  of  a  generator,  2  over- 
phones  thus  being  simultaneously  rep- 
resented. Only  the  ratio  of  the  octave 
(2:1)  is  never  dissonant.  Striking  out 
from  the  series  of  overtones  the  doub- 
lings in  the  octave,  there  remain,  to 
represent  the  major  consonance  of  the 
over-phone,  only  (i)  the  generator,  (2) 
the  twelfth,  and  (3)  the.  fifteenth;  hence, 
the  primitive  form  of  the  major  triad  is 
not,  properly     „  but  in  ■«'5 

speaking, the 
triad  in  close 

harmony:   '^  mony: 

— The  consonance  of  the  minor  triad  is 
not  derivable  from  the  series  of  higher 
partials,  but  is  referable  to  a  series  of 
lower  partials  (undertones)  diametrically 
opposed  to  the  former  (comp.  Acous- 
tics). The  lower  partials  i,  2,  3,  4,  5, 
6,  8,  10,  12,  16,  etc.,  in  fact  all  tones 
of  the  lower  series  corresponding  to 
lower  octaves  of  the  1st,  3rd,  and  5th 
lower  partials,  are  constitu-  ■  -^  I 
ents  of  the  minor  triad  below  |^~tyy— r, 
c,  of  the  C  under-phone:  Z)  I 
in  just  the  same  sense  as  the  same  num- 
bers in  the  higher  series  are  constituents 

of    the     n J its  dissonances  also 

Cover- 1 i^    p — :;  have    a   parallel  ex- 


phone  ; 


have 
planation. 


I4S 


PHONE. 


§  3.  Phonic  representation 
{/Clan^'vfr/ retting)  is  the  peculiar  sig- 
nificance attiicliing  to  any  tone  or  inter- 
val, according  as  it  is  conceived  as  be- 
longing to  a  particular  phone.  For 
instance,  the  tone  C  has  a  very  different 
meaning,  in  the  logic  of  progression, 
when  conceived  as  tierce  in  the  A^- 
major  chord,  from  that  as  tierce  in  the 
y4-minor  chord  ;  in  the  former  case,  it 
is  most  closely  related  to  Di  and  the  Z^'^- 
raajor  chord  ;  in  the  latter,  to  B,  and 
the  chords  of  j?-major  and  j5"-minor. 
Every  tone  may  form  an  integral  part 
of  6  different  phones  ;  for  instance,  the 
tone  C  in  the  C  over-phone  (C-major 
chord)  as  major  root,  in  the  F  over- 
phone  as  major  quint  (over-quint),  in 
the  Ay  over-phone  as  major  tierce 
(over-tierce),  in  the  C  under-phone  {F- 
rainor  chord)  as  minor  root,  in  the  G 
under-phone  (C"-minor  chord)  as  minor 
quint  (under-quint),  and  finally  in  the 
£  under-phone  (.4 -minor  chord)  as  mi- 
nor tierce  (under-tierce)  : 


Major  chords 
(read  up). 


Minor  chords 
(read  doicii). 


Whenever  the  tone  C  enters  into  any 
other  chord  as  a  dissonant  tone,  or  is 
substituted  for  some  chord-tone  as  a 
suspended  or  altered  tone,  it  is  never- 
theless always  to  be  conceived  as  be- 
longing to  one  of  the  above  6  phones, 
i.  e.  to  the  one  most  nearly  related  in 
any  given  case. 

§  4.  The  relation  of  tones  is  a 
modern  conception,  based  on  the  affini- 
ty of  tones  belonging  to  the  same 
phone.  Tones  belonging  to  the  same 
fhone  are  directly  related  ;  to  f ,  for  in- 
stance, are  directly  related^,/',  e,  (tH,  a, 
and  ej  ;  for  c  :  g  belongs  to  the  chord  of 
C-major  or  C-minor,  c  :  e  to  the  chord 
of  C-major  or  /f -minor,  c  :  a'r)  to  the 
chord  of  A^-ma']or  or  /-minor,  c  :  a  to 
the  chord  of  /"-major  or  ^ -minor,  and 
c  :  ^  to  the  chord  of  ^t^-major  or  C- 
minor.  Directly  related  tones  are  con- 
sonant ;  all  other,  or  indirectly  related, 
tones  are  dissonant.  The  mutual  ref- 
lation of  the  former  is  more  easily  un- 
derstood than  that  of  the  latter.  Di- 
rectly related  phones  are  (r)  those  simi- 
lar ones  (both  either  major  or  minor)  in 
which  the  phonic  root  of  the  one  is  di- 
rectly related  to  the  phonic  root  of  the 


other  [phonic  root  =  generator,  i.  e.  the 
fundamental  tone  in  a  major  triad,  or 
the  (jitiiit  in  a  minor  triad]  ;  (2)  those 
dissimilar  ones  (one  major  and  the 
other  minor)  of  which  the  one  is  the 
under-phone  of  some  chord-tone  of  the 
other;  namely,  for  the  major  chord, 
the  under-phones  {minor  phones)  of  its 
phonic  root,  quint,  and  tierce  ;  for  the 
minor  chord,  the  over-phones  {major 
phones)  of  its  phonic  root,  quint,  and 
tierce ;  to  which  must  be  added  the 
under-phones  of  the  respective  leading- 
tones.  Thus,  the  following  chords  are 
directly  related  to  the  ("-major  chord: — 
6^-major,  /"-major,  ^-major,  .^[i-major, 
/^[7-major,  /"-minor,  C-minor,  ^-minor, 
and  /'-minor  ;  whereas,  to  the  ^-minor 
chord,  are  directly  related  the  chords 
of  : — Z>-minor,  /^-minor,  /"-minor,  Cjf- 
minor,  C-minor,  /";f-minor,  /'-major, 
^ -major,  C-major,  and  /"-major. — The 
relation  of  the  tones  depending  on  that 
of  the  the  tonics  (tonic  phones),  it  fol- 
lows, that  any  key  is  directly  related  to 
C-major  (or  ^-minor),  whose  tonic  is 
one  of  the  phones  (chords)  given  above 
as  directly  related  to  the  chord  of  C-major 
(or  .4 -minor). 

g  5.  Phonic  progression  {Klang'- 
folge)  is  the  progression  between  two 
chords  with  reference  to  their  signifi- 
cance as  phones.  The  ordinary  method 
of  marking  the  phones  (major  and  mi- 
nor triads)  b)  the  Roman  numerals  I, 
II,  III,  I'V^,  etc.  (com p.  Chord)  is 
inadequate  from  the  standpoint  of  free 
tonality;  e.g.  thispassage: 


G:Y' 


is  hardl'y  intelligible  with  such  a  figur- 
ing ;  although  it  in  no  way  signifies  a 
modulation  into  another  key,  one  must 
perforce  consider  the  ,47-chord  as  in 
y-minor,  and  the  Z>-chord  as  in  C-ma- 
jor. For  such  progressions,  a  figuring 
with  reference  to  a  scale  is  simply  im- 
possible ;  they  are  referable  to  free  to- 
nality, an  idea  but  recently  recognized, 
whose  scope  extends  far  beyond  the 
bounds  of  diatonic  harmony.     Tonality 


PHONIKON— PHYSHARMONICA. 


149 


knows  neither  diatonic  nor  foreign 
chords,  but  only  a  tonic  phone  and  ref- 
erable (related)  phones.  In  the  above 
example,  the  C-major  triad  is  through- 
out the  tonic  phone,  to  which  the  others 
are  referable  ;  the  Ap-ma]or  chord  is 
its  under-tierce  phone,  the  /J-minor 
chord  is  its  second  over-quint  phone, 
and  the  C-major  chord  its  over-quint 
phone.  The  first  progression  (C-major 
to^[7-major)  reaches  over  to  the  under- 
tone side ;  the  second  (.'/[^ -major  to 
G^-major)  springs  across  to  the  overtone 
side  ;  the  other  two  lead  back  to  the 
tonic  phone.  If  we  term  a  progression 
between  2  similar  phones  a  stride 
(Sckritt),  and  one  between  2  dissimilar 
phones  a  chanj^e  ( IVechsel),  we  can  dis- 
tinguish 4  species  of  phonic  progression 
in  which  the  mutual  relation  of  the 
roots  is  a  quint-relation.  It  is  of  wide- 
ly different  significance  for  the  tonality, 
whether  a  stride  from  the  tonic  goes  to 
overtone  side  or  to  the  undertone  side  ; 
starting  from  a  major  chord  the  latter, 
and  from  a  minor  chord  the  former, 
signifies  a  contradiction  of,  or  opposi- 
tion to,  the  phonic  principle  ;  strides  or 
changes  to  contraphones  (i.e.  phones 
belonging  to  the  opposite  side)  will  be 
indicated  by  the  prefix  r^;/ //-<?.  Thus(i) 
the  progression  from  C-major  to  C-major, 
or  J4 -minor  to  Z>-minor  (=  j?  under- 
phone  to  A  under-phone)  is  a  simple 
quint-stride  ;  (2)  C-major  to  F-major,  or 
^-minor  to  j5"-minor  {E  under-phone  to 
B  under-phone)  is  a  contraquint-stride  ; 
c-''g,  or  °e-a  (see  §  6),  is  a  simple  quint- 
change  ;  c-^f  or  "e-b,  is  a  contraquint- 
change.  In  all  species  of  phonic  pro- 
gression the  simple  changes  are,  like 
that  above,  easily  intelligible  ;  whereas 
the  contra-changes  are  much  more  diffi- 
cult to  understand. — The  tierce-pro- 
gressions are,  for  example,  the  simple 
tierce-stride  c-e,  or  °(?-°<r ;  contratierce- 
stride,  c-a\},  or  "e-'^g'^,;  simple  tierce- 
change,  c-^e,  or  °e-c ;  contratierce- 
change,  e-''a\).  Any  direct  progression 
to  a  remoter  phone  makes  the  want  of 
an  (omitted)  connecting  link  sensibly 
felt ;  it  will  be  easy  to  modulate  to  such 
an  intermediate  phone,  i.  e.  to  transfer 
to  it  the  significance  of  a  tonic  phone. 

§  6.  Phonic  figuring  {Klan/- 
schlussel)  [according  to  RiemannJ.  (i) 
No  scale-degrees  are  marked  or  taken 
note  of  ;  small  letters  are  used  to  mark 
the  root-tones  of  the  phones,  with  an  ° 
prefixed  for  an  under-phone  ;  thus  c  —- 


C-major  triad,  "c  =  /'-minor  triad. — (2) 
To  these  letters  are  affixed  numerals, 
marking  intervals  added  to  the  phones  ; 
not,  however,  counting  from  the  bass 
note,  but  from  the  phonic  root  ;  Arabic 
numerals  [read  up  !]  for  over-phones 
(major  triads),  Roman  numerals  [read 
down  !j  forunder-phones  (minor  triads). 
Thus  I  (I)  =  phonic  root  ;  2  (II)  =  ma- 
jor second  ;  3  (III)  =  major  tierce  ; 
4  (lY)  =  perfect  quart ;  5  (V)  =  per- 
fect quint ;  6  (VI)  =  major  sext  ;  7 
(VII)  =  major  sept. — (3)  The  sign  < 
after  a  numeral  denotes  the  raising  of 
the  interval  by  a  semitone  ;  >  denotes 
its  lowering  by  a  semitone.     Examples  : 


f        fvii         bj?"        g''^         b"* 
or  d^i         fj|vii> 


Pho'nikon.  A  metal  wind-instr.  with  a 
globe-shaped  bell  ;  inv.  by  B.  F.  Czer- 
veny  of  Koniggratz  in  1848. 

Phonom'eter.  (Fr.  phonometre)  An 
instr.  for  recording  the  number  of  vi- 
brations made  by  a  sonorous  body  in  a 
given  length  of  time. 

Phor'minx  (Gk.)  An  ancient  stringed 
instr.  resembling  the  cithara  or  the  lyra. 

Phrase,  i.  See  Form. — 2.  Any  short 
figure  or  passage  complete  in  itself  and 
unbroken  in  continuity. .  .  Phrase-mark, 
in  mus.  notation,  a  curved  line  con- 
necting the  notes  of  &  phrase  2. 

Phrasing.  (Ger.  Phrasie'rung,  from 
//ir«j-/V';vw,  to  phrase.)  i.  The  bring- 
ing-out  into  proper  relief  of  the  phrases 
(whether  motives,  figures,  subjects,  or 
passages),  both  as  regards  their  individ- 
ual melodic  and  rhythmic  characteri- 
zation and  their  relative  importance. — 2. 
The  signs  of  notation  devised  to  further 
the  above  end. 

Phryg'ian.     See  Mode. 

Physharmon'ica.  i.  A  small  reed- 
organ  inv.  in  1818  by  Anton  Hackel  of 
Vienna,  and  designed  for  attachment 
beneath  a  piano-keyboard  to  sustain 
the  tones  of  melodies.  It  was  the  pre- 
cursor of  the  harmonium. — 2.  (Ger.)  A 
free-reed  stop  on  the  organ. 


150 


PIACERE— PIANOFORTE. 


Piace're,  a  (It.)  "At  pleasure";  a 
direction  equivalent  to  ad  lihitum,  sig- 
nifying that  the  expression  of  the  pas- 
sage so  marked  is  left  to  the  performer's 
discretion.— Also  marks  the  introduc- 
tion of  a  cadenza.  (Sometimes  afiaci- 
men'lo.) 

Piace'vole    (It.)      Pleasant,    agreeable  ; 

calls    for   a    smooth,  suave    rendering, 

free  from  forcible  or  passionate  accents. 

.  .Piacevolnten'te,    smoothly,    suavely. 
Piacimen'to  (It.)     Equiv.  to  Piacere. 
Pianette.     A  lovir  form  of  upright  piano. 
Piangen'do  (It.,    "weeping,   tearful.") 

Wailing,  plaintive.     (Also  fiange'z'o/e, 
piangevobiien'te.) 

Piani'no  (It.,  dimin.  oi fiano.)  An  up- 
right pianoforte. 

Piani'sta  (It.)  i.  A  pianist.— 2.  A 
mechanical  pianoforte. 

Pia'no(It.)  Soft,  softly  {sign  p). .  .Pi- 
ano pedal,  the  soft  or  left  pedal  of  the 
phe.  .  .Pia/!/s'si//!o  (superl.  oi  piauo), 
very  soft  (sign  //  or  ///)• 

Piano.  (Abbr.  of  Pianoforte). .  .Bou- 
doir p.,  a  short  style  of  grand  pfte. . . 
Cabinet  p.,  an  old  form  of  upright  pfte. 
. .  Cottage  p.,  see  Cottage.  .  .Dumb  p.,  a 
pfte. -keyboard  without  action  or  strings, 
used  for  silent  mechanical  practice'. 
(See  Virgil  Practiee-Clavier.) .  .  .Elec- 
tric p.,  one  whose  strings  are  set  in  vi- 
bration by  electro-magnets  instead  of 
hammers.  .  .G'ra «(//.,  see  Pianoforte. 
. .  .Pedal-piano,  see  Pedal.  .  .Piccolo p., 
a  small  upright  piano  introduced  by 
Womum  of  London  in  lS2g. .  .Semi- 
grand  p.,  same  as  Boudoir ...  Square, 
Upright  p.,  see  Pianoforte. 

Piano  (Fr.)  A  pianoforte.  ..P.h  arc  he  t, 
piano-violin.  .  .P.  a  claviers  renversh, 
a  grand  pfte.  having  2  keyboards,  one 
above  the  other,  the  ascending  scale  of 
the  upper  one  running  from  right  to 
left. .  .P.  a  queue,  grand  pfte.;  a.  queue 
/court/e,  boudoir  grand  pfte.../*,  a 
secretaire,  cabinet  pfte.../*.  carr^, 
square  pfte.../'.  droit  {oblique,  a  pi- 
las  tres,  vertical),  upright  pfte.  .  ./'. 
Mien,  see  Aneinochord.  .  .P.  harmoni- 
corde,  a  combined  pfte.  and  harmonium, 
inv.  by  Debain. .  .P.  vu'canique,  a  me- 
chanical piano .  .  .P.  muet,  dumb  pfte. .  . 
P.  organist,  a  pfte.  withphysharmonica- 
attachment. 

jPian'oforte.      (Ger.    Klavier'   [in    Ger. 
Fianofor'te    usually    means    "square 


piano"]  ;  Yr.  piano  [more  rarely  piano- 
f>rte'orfort/./>iano,  very  seldom  fort/]  ; 
It.  pia'no,  pianofor'te.)  A  keyboard 
stringed  instr.  of  percussion,  the  tones 
being  produced  by  hammers  striking 
the  strings.— The  principal  parts  are  (i) 
the  Frame,  (2)  the  Soundboard,  (3)  the 
Strings,  (4)  the  Action,  and  (5)  the 
Pedals. — x\.ccording  to  the  shape  of  the 
case,  pftes.  are  classed  as  Grand  (harp- 
shaped  ;  Ger.  Flii'gel;  Fr.  piano  a 
queue;  It.  pia'no  a  co'da),  with  horizon- 
tal strings  and  built  in  several  sizes,  as 
Concert  Grand,  Pai'lor  Grand,  Boudoir; 
— Square  (oblong  ;  Ger.  Pianofo'rte, 
or  ia'felformiges  Klavier' ;  Fr.  piano 
carre';  It.  pianofor'te  a  tavoli'no)  with 
horizontal  strings  ; — and  UPRiGHT(buf- 
fet-shaped  ;  Ger.  and  It.  Piani'no;  Fr. 
piano  droit)  with  vertical  or  slanting 
strings. 

(i)  The  Frame  is  now  generally  of 
iron  cast  in  one  piece  (Broadwood's 
pftes.  form  the  most  notable  exception 
to  this  rule),  and  braced  with  cross-bars 
and  trusses  to  resist  the  string-tension, 
which  varies  from  about  12  up  to  nearly 
20  tons. — (2)  Below  the  frame  is  the 
Soundboard,  ne:SiV  the  front  end  of  which 
is  a  bridge  oi  hard  wood  over  which  the 
strings  are  stretched.  — (3)  The  Strings 
are  attached  at  one  end  by  hitchpins  to 
the  stringplate,  and  at  the  other  to 
wrestpins  {tuning-pins)  set  in  the  wrest- 
plank;  they  are  of  steel  wire,  the  bass 
strings  of  a  steel  core  covered  (coiled) 
with  copper  wire  ;  8  or  10  of  the  lowest 
bass  tones  have  one  string,  about  ij^ 
octaves  above  have  2  strings,  and  the 
remaining  5  octaves  3  strings,  to  each 
tone  ;  such  pairs  or  triplets  of  strings 
to  one  tone  are  called  unisons. — (4) 
The  Action  consists  essentially  of  the 
key  {digital,  finger-lever)  ;  the  hopper 
on  the  rear  end  of  the  key,  raising  the 
hammer  when  the  key  is  depressed,  and 
allowing  the  instant  escape  of  the  lat- 
ter after  propelling  the  hammer,  which 
can  therefore  immediately  rebound  into 
position  after  striking  the  string  ;  the 
hammer,  hinged  at  the  butt,  with  a  slim 
round  shank,  upon  which  is  fixed  the 
head  (the  hammer  proper)  made  of  felt 
and  sometimes  covered  with  leather. — 
(5)  The  Pedals  are  2  (sometimes  3)  in 
number :  {a)  Damper-pedal,  {b)  Piano 
pedal,  {c)  Sustaining-pedal  (comp.  art. 
Pedal). 

The  idea  of  the  key-mechanism  was 
derived  indirectly,  through   the  mono- 


PIANOGRAPH— PIPE. 


151 


chord,  spinet,  harpsichord,  and  clavi- 
chord, from  that  of  the  organ  ;  the  idea 
of  a  hammer-action  (which  constitutes 
the  essential  difference  between  the 
Pianoforte  and  its  precursors)  was,  per- 
haps, derived  from  the  dulcimer  in  its 
perfected  form  the  Faittalon.  The 
hammer-action  was  first  practically  de- 
veloped by  Bartolommeo  Cristofori  of 
Padua  in  1711,  whose  action  is  the 
same,  in  essentials,  as  that  now  manu- 
factured by  Broadwood  (English  action). 

Pian'ograph.    A  form  of  music-recorder. 

Piano-harp.     See  Klaviaturharfe. 

Piano-organ.     Same  as  Handle-piano. 

Piano-violin.  (Ger.  Bo'genJlUgel,  Gei'- 
genwerk;  Fr.  piano  a  archet,  piano- 
quatuor.)  The  English  name  covers 
the  results  of  a  long  series  of  experi- 
ments, and  of  improvements  of  the 
hurdy-gurdy,  the  prototype  of  the  class. 
— In  the  Gcigcn-vcrk  inv.  by  Ileiden  of 
Nuremberg  (about  160  j)  the  keys,  when 
touched,  pressed  their  corresponding 
wire  strings  against  small  rosined 
wheels  made  to  revolve  by  a  treadle  ; 
the  tone  was  similar  to  that  of  a  bow- 
instr. — The  Gamlicnwcrk  was  made  by 
Risch  of  llmenau  (about  1750),  and 
improved  by  the  substitution  of  gut 
strings  for  wires. — Hohlfeld's  Bogcn- 
fliigel  (1754)  had  gut  strings,  beneath 
which  was  a  bovv  furnished  with  horse- 
hair ;  on  pressing  the  keys,  the  strings 
were  drawn  by  little  hooks  against  the 
bow,  whose  slow  or  rapid  movement 
was  controlled  by  a  pedal-stop. — C.  A. 
von  Meyer,  of  Knownow,  provided  a 
separate  horsehair  bow  for  each  string 
(1794). — The  clavecin  harmoniqtie  of 
Hi'ibner  (Moscow,  about  1800)  accu- 
rately reproduced  the  sound  of  a  string- 
quartet. —  Pouleau's  orcheslrine  was  a 
further  improvement  of  the  clavecin 
harmoniqtie. — H.  C.  Baudin  of  Paris 
invented  an  instr.  called  the  piano- 
quatuor,  patented  in  England  in  1865 
under  the  name  oi piano-violin.  It  has 
for  each  tone  one  wire  string,  at  or 
near  a  nodal  point  of  which  is  attached 
a  piece  of  stiff  catgut  projecting  about 
an  inch.  Above  these  gut  ties,  a  rosin- 
ed roller  is  caused  to  revolve  rapidly  by 
a  treadle ;  on  touching  the  keys,  these 
ties  are  carried  up  against  the  roller, 
the  tones  thus  produced  having  the 
timbre  of  tones  from  gut  strings.  The 
instr.  is  capable  of  rapid  execution  and 
articulation. 


Piat'ti  (It.,  pi.)     Cymbals. 

Pi'broch.  A  set  of  variations  for  the 
bagpipe  on  a  theme  called  the  urlar, 
generally  3  or  4  in  number,  and  increas- 
ing in  dilticulty  and  speed  up  to  the 
closing  quick  movement  (the  crean- 
luidh).  This  is  the  highest  and  most 
difficult  form  of  bagpipe-music. 

Piccanteri'a,  con  (It.)  With  piquant 
sprightly  expression. 

Picchetta'to,  Picchietta'to  (It.)  De- 
tached.    See  Pique. 

Picco  pipe.  A  small  pipe  with  a  flageo- 
let-mouthpiece, and  3  ventages,  2  above 
and  I  below  ;  named  after  tlie  Italian 
peasant  I'icco,  whose  extraordinary 
virtuosity  on  his  instr.  introduced  it  to 
the  general  public  (London.  1856),  and 
who  obtained  from  it  a  compass  of  3 
octaves. 

Pic'colo.  {It.  Jla'uto pic'colo;  Yr.  petiti 
Jlnte;  Ger.  Oktav'flote,  J'ick'eljlote.) 
The  octave-flute.     See  Flute. 

Pic'colo  (It.)  Small. .  .Used  as  a  noun, 
equiv.  to  (i)  FLiuto  piccolo.,  and  (2) 
Piano  piccolo,  a  small  style  of  upright 
pfte. 

Pick  {verb).  To  pluck  or  twang  (as  the 
strings  of  a  guitar,  mandolin,  etc.)  ; 
{noun),  a  plectrum. 

Piece.  I.  A  composition. — 2.  An  in- 
strument, taken  as  a  member  of  an 
orchestra  or  band  (usually  in  pi.) 

Pi^ce  (Fr.)  A  piece  (ordinarily  of  in- 
strumental mnsic). ..  Suite  de  pieces, 
a  set  of  pieces. 

Pie'no  (It.)      I.   P'ull. — 2.    Mixture-stop. 

Pieto'so  (It.,  "pitiful,  moving".)  Calls 
for  a  sympathetic  and  expressive  deliv- 
ery ;  nearly  same  as  espressivo. 

Piffera'ro  (It.)     A  player  on  the  piffero. 

Pif'fero  (It.,  dimin.  pifferi'no.)  i.  A 
fife  ;  also,  the  name  of  a  primitive  kind 
of  oboe  or  shawm. — 2.  An  organ-stop 
(see  Bifara). 

Pikie'ren  (Ger.)  Same  as  piquer.  See 
Piqu^. 

Pinc6  (Fr  ,  "pinched".)  i.  Plucked  01 
twanged,  as  the  strings  of  the  harp, 
zither,  etc. — 2.  Pizzicato  (in  violin- 
playing). — 3  {tioun).  A  mordent ;  sign 
*  or  ^  .  . .  Pince  etouffe,  acciaccatura  ; 
pinc^renvers^,  inverted  mordent. 

Pipe.  I.  A  primitive  wind-instr.,  a  rude 
flageolet  or  oboe. — 2.  An  organ-pipe. 
(Ger.  Ot'gelp/eife ;  Fr.  tuyau  d'orgue; 


15* 


PIPE-METAL— PITCH. 


It.  can'na  d'or'gano.)  {a)  Fu'E-I'IPES 
are  those  in  which  the  tone  is  produced 
by  the  vibration  of  a  column  of  air 
within  a  tube  or  "  body  ",  the  vibration 
being  set  up  by  an  air-current  forced 
through  a  narrow  aperture  and  imping- 
ing on  a  sharp  edge.  A  flue-pipe  may 
be  of  metal  or  wood  ;  the  part  resting 
on  the  pipe-rack  is  theyl'c/,  which  is  di- 
vided from  the  boiiy  by  an  aperture  in 
front  called  iheviotith,  having  an  upper 
and  a  lower  lip,  and  ears  on  either 
side  ;  within  the  mouth  a  projecting 
shelf  or  ledge  called  the  I'l.uk  (when 
thick)  or  language'  (when  thin)  deflects 
the  wind  rushing  through  the  foot, 
forming  below  a  channel  called  the 
throat,  and  above  (between  language 
and  lower  lip)  a  narrow  passage  called  the 
windway;  the  wind  passing  out  of  the 
latter  impinges  on  the  sharp  edge  of  the 
leaf  (bevelled  portion  of  the  upper  lip), 
settingthe  air-column  within  the  body  in 
vibration  and  thus  producing  a  tone. 
The  body  of  an  open  metal  pipe  is  pro- 
vided at  the  top  with  flaps  called  tuners, 
that  of  a  wooden  pipe  with  small  mov- 
able wooden  boards,  by  adjusting  which 
the  pipes  can  be  tuned — ("voiced"). 
— Flue-pipes  are  open  or  covered  (stop- 
ped, plugged)  ;  an  open  pipe  produces  a 
tone  proportioned  in  pitch  to  the  length 
of  the  body,  hence  the  terms  8-foot  tone, 
l6-foot  tone,  etc.  (Compare  JIarmonic 
stop.)  K  stopped  pipe  yields  atone  an 
octave  lower  than  an  open  pipe  of  like 
length. — -{b)  Reed-pipes  are  those  in 
which  the  tone  is  produced  by  a  reed  ; 
the  tone  may  be  modified  in  quality, 
but  not  in  pitch,  by  the  shape  and  size 
of  the  body  or  tube.  A  reed-pipe  has 
a  boot  (corresponding  to  the  foot  of  a 
flue-pipe),  within  which  is  the  block,  a 
circular  plate  of  metal  with  2  apertures, 
one  holding  the  titning-zoire  and  the 
other  the  reed.  A  reed  consists  of  2 
parts,  a  metal  tube  (called  the  shallot) 
of  conical  form,  widest  below,  with  a 


lengthwise  opening  along  one  side  cov- 
ered by  the  tongtie  (the  vibrating  reed 
proper),  an  elastic  strip  of  metal  made 
fast  at  the  top,  but  free  below  to  vi- 
brate ;  across  its  upper  portion  passes 
the  bent  end  of  the  tuning-ivire,  which 
can  be  raised  or  lowered  so  as  to  allow 
a  longer  or  shorter  part  of  the  tongue 
to  vibrate,  and  thus  alter  the  pitch. 
The  tube  is  fixed  above  the  block,  and 
may  be  of  metal  or  wood,  and  in  very 
various  forms. 

Pipe-metal.  The  metal  of  which  the 
metallic  flue-pipes  in  the  organ  are 
made  ;  generally  an  alloy  of  tin  and 
lead,  the  tone  improving  as  the  propor- 
tion of  tia  increases.  Pure  tin,  lead, 
or  zinc,  or  all  3  in  varying  proportions, 
have  also  been  used. 

Pipe-organ.     See  Organ. 

Pique    (Fr.)    Peg  or  standard  of  a 'cello. 

Pique  (Fr.)  In  violin-playing,  the  mezzo- 
staccato  called  for  by  a  slur  with  stac- 
cato dots,  notes  so  marked  to  be  played 
in  one  ho'W  {picckietta'to).  .  .Piqtier,  to 
execute  picchiettato. 

Pirolino  (It.)     Button  (on  viohn,  etc.) 

Piston.     See   Valve. 

Piston-Solo  (Ger.)     Solo  for  the  cornet 

a  pistons. 

Pitch.  (Ger.  Ton' ho  he;  Fr.  hauteur  du 
ion;  It.  diapason.)  The  position  of  a 
tone  in  the  musical  scale. — Pitch  is  rel- 
ative, or  absolute.  The  relative  pitch 
of  a  tone  is  its  position  (higher  or  lower) 
as  compared  with  some  other  tone.  (See 
Interval.)  Its  absolute  pitch  is  its  fixed 
position  in  the  entire  range  of  musical 
tones. 

§  I.  For  ordinary  purposes  the  mus. 
scale  is  divided,  to  indicate  absolute 
pitch,  into  a  fixed  series  of  octaves, 
which  are  named  and  lettered,  in  Eng- 
lish usage,  as  follows  : 


NAMES  OF  THE  OCTAVES  IN  ABSOLUTE  PITCH. 


Double  contra-octave  (32- 
foot  octave,  organ) 


Contra-octave  (16-foot 
Oct.) 


First  octave 

(Great  octave) 

(8-foot  oct.) 


Ca  Dj  Eg    Fa    Gj  A,    B^   I  C,  D,    E,    F,    G,    A,    B,  |    C     D    E      F     G      A     B 


m\ 


-23— ■«>- 


-■=>      <=■    ) 


• '      Zoa  


PITCH. 


153 


Second  octave 

(Small  octave) 

(4-foot  Oct.) 


Third  octave 

(One-lined  oct.) 

(2-foot  oct.) 


d'     el     fl     gi 


il     b> 


Fourth  octave 
(2-lined  oct.) 
(.i-foot  oct.) 


d' 


fa     gS 


b« 


t. ^^- 

p-.-— --^ 

"S-i'    ^-    ^                        ... 

^) — ^^=— ^-^ 

Note. — The   double  contra-octave   is   often  written   CCC,  DDD,  etc.,  and   the  contra-octave 
CC,  DD,  etc.;  also,  instead  of  small  figures,  accents  or  lines  are  employed  to  mark  the  letters,  as 

C  D,/  or  C  D  for  C3  Dj  etc.;— c'  d',  or  c  d,  for  c'  d»  etc. ;— c"  d",  or  c  d,  for  c*  d*  etc. ;— hence 

the  terms  £)«i?-//«f(/ octave,  iiuo-lined  octave,  and  once-accented  octave,  twice-accented octa.vs,  etc. 

one  tierce  to  e;  in  the  former  case  E, 
as  the  third  of  C,  is  a  quint-tone,  whereas 
in  the  latter  case  it  is  a  tierce-tone,  the 


§  2.  For  scientific  purposes,  and  to 
ascertain  the  relative  pitch  of  the  tones 
of  the  scale,  the  above  system  is  modi- 
fied, C  being  retained  as  the  starting- 
point  or  standard  tone,  while  the  dis- 
tinction between  lower  and  higher 
octaves  is  disregarded,  and  lines  (in 
this  case  not  marking  different  octaves) 
are  drawn  above  or  below  the  letters  to 
distinguish  between  Quint-tones  (i.  e. 
tones  whose  relative  pitch  is  determined 
by  reaching  them  through  ascending  or 
descending,  from  the  standard  tone  C, 
by  skips  of  successive  perfect  fifths), 
and  Tierce-tonesi^.  e.  tones  determined 
by  reaching  them  through  skips  of  major 
thirds).  For  instance,  the  tone  e  may 
be  reached  either  as  the  fourth  quint 
above  C  (C-G-D-A-E),  or  by  ascending 


difference  in  pitch  being  noted  by  a  line 
under  the  tierce-tone  E,  signifymg  that 
it  is  lower  than  the  quint-tone  E  by  a 
syntonic  comma  (80  :  81).  This  syn- 
tonic comma  represents  the  ratio  be- 
tween the  Pythagorean  tierce  of  C  (=E, 
the  fourth  quint),  and  the  major  tierce 
of  C  (=E)  of  just  intonation  (E  :  E  : ; 
80  :  81);  for  every  tierce-skip  taken  up- 
ward, a  line  is  added  below  the  letter, 
and  for  every  tierce-skip  downward,  a 
line  is  added  above  the  letter  ;  showing 
by  how  many  commas  the  tierce-tone 
obtained  is  lower  or  higher  than  the 
corresponding  quint-tone. 


laDle  (.alt 

er  KII 

ibove 

:man> 

«)- 

=  > 

'3  > 

4th  tierce 

gx 

dx 

a  X 

ex 

bx 

fx# 

3d  tierce  above. 

a« 

e# 

b# 

fx 

ex 

gx 

dx 

2d  tierce  a 

hove. 

b 

2 

c» 

g# 

d« 

a# 

e« 

b# 

xst  tierce  above. 

c 

g 

d 

a 

e 

b 

f» 

c« 

g» 

a? 

el> 

bt) 

f 

C 

g 

d 

a 

e 

f^ 

ci> 

gt> 

dt> 

^ 

e!> 

b^ 

f 

ist  ti 

3rce  below 

dt)t> 

at>i> 

et>t> 

bt)t> 

f!> 

ct> 

gb 

2d  tie 

rce  bel 

ow. 

bbbb 

fbb 

ct)> 

gbt> 

dt>i> 

abb 

3d  ti< 

:rce  below. 

trj*       '^o-      cro.      o"? 


ISA 


PITCH-PIPE— PLAISANTERln. 


In  this  Table  each  skip  horizontally  is 
a  quint-skip,  and  each  skip  vertically  is 
a    tierce-skip ;    the    major    triads    are 

c 
grouped    thus,    -r    -r   and     the   minor 

c  g 

triads   thus       "r- 

eb 

In  just  intonation  the  major  scale  would 
be  represented  thus  : 

C  D  E  F  G  A  Be 

and  its  parallel  minor  scale  thus  : 

CDEbFGAt>Bc 

3  3.  The  absolute  pitch  of  a  tone  is 
determined  by  the  number  of  vibrations 
it  makes  per  second,  and  is  stated 
as  a  vibration-niiinher.  The  standard 
French  pitch,  universally  adopted  in 
France  in  1859,  gives  the  tone  «'  435 
(double)  vibrations  per  second,  ^^  hav- 
ing 522.  Formerly  there  was  no  recog- 
nized standard,  the  pitch  varying  in 
different  instr.s  (organs)  and  locaHties 
by  as  much  as  a  fourth.  The  incon- 
veniences resulting  led  to  the  establish- 
ment, early  in  the  17th  century,  of  a 
mean  pitch  ((z'  averaging  about  420  vi- 
brations), which  held  its  own  for  some 
200  years ;  this  has  been  called  the 
classical  pitch,  it  having  obtained 
throughout  the  era  of  classical  compo- 
sition. After  this,  the  growing  tendency 
to  force  the  pitch  upwards  led  to  nu- 
merous deliberations  by  scientists  and 
musicians ;  the  German  congress  at 
Stuttgart  adopted  the  pitch  rt'  =  440 ; 
but  the  French  pitch  mentioned  above 
is,  in  point  of  fact,  the  only  real  stand- 
ard, and,  since  its  formal  adoption  by 
the  \'ienna  Congress  in  Nov.,  1887,  is 
frequently  termed  the  international 
pitch.  It  is  called  low  pitch,  as  opposed 
to  the  hi ^h pitch  {concert-pitch)  in  vogue 
till  lately  in  concerts  and  operatic  per- 
formances. The  so-called////^j'('/|///V(z/ 
standard  of  pitch  is  obtained  by  taking, 
for  Middle-C,  the  nearest  power  of  2, 
giving  256  vibrations  for  f',  and  nearly 
427  for  a'  ;  it  has  frequently  served  as 
a  basis  in  theoretical  calculations. 
Pitch-pipe.  A  small  metal  or  wooden 
reed-pipe  produciHg,  when  blown,  one 
or  more  tones  of  fixed  pitch,  according 
to  which  an  instr.  may  be  tuned,  or  the 
correct  pitch  ascertained  for  the  per- 
formance of  a  piece  of  music. 

O  Piii  (It.)    More. — When  Piii  stands  alone 
9S  a  tempo-mark,  mosso  is  implied. 


Pi'va  (It.)  I.  A  bagpipe. — 2.  A  piece 
imitative  of  bagpipe-music. 

Pizzica'to  (It.,  "pinched".)  Plucked 
with  the  finger  ;  a  direction,  in  music 
for  bow-instr.s,  to  play  the  notes  so 
marked  by  plucking  the  strings.  The 
succeeding  direction  coU'arcoi^K'Cn  the 
bow)  indicates  the  resumption  of  the 
bow  for  playing.     (Abbr.  pizz.) 

Placidamen'te  (It.)  Tranquilly,  smooth- 
ly ;  Irom  pla'cido,  placid,  tranquil. 

Pla'cito  (It.)  Pleasure.  .  .  A  be'ne placito, 
at  (the  performer's)  pleasure  ;  means 
that  t*ie  tempo  may  be  altered,  graces 
or  cadenzas  added,  or  that  certain 
specified  instr.s  may  be  used  or  not,  as 
fancy  may  dictate. 

Plagal  cadence,  mode,  see  Cadence, 
Modc.Plagal  melody,  one  whose  range 
extends  about  a  fourth  below  and  a 
fifth  above  its  tonic  or  final. — Plagal  is 
opp.  to  Atithentic  in  all  senses. 

Plain  chant,  Plain  song.  (Lat.  can'- 
ttis  pla'nus,  cantus  chora'lis.)  The 
unisonous  vocal  music  of  the  Christian 
Church,  probably  dating  from  the  first 
centuries  of  the  Christian  era,  the  style 
being  still  obligatory  in  the  R.  C.  ritual. 
Handed  down  at  the  beginning  by  oral 
tradition,  it  was  first  regulated  by  St. 
Ambrose  (see  Ambrosian  chant),  and 
later  revised  by  St.  Gregor}'  {Gregorian 
chant).  The  comparatively  modern 
name  cantus  planus  distinguished  this 
style  from  that  of  the  strictly  rhythmical 
cantus  mensura'hilis,  which  originated 
early  in  the  12th  century,  after  which 
period  plain  chant  began  to  be  sung  in 
notes  of  equal  length ;  in  its  earlier 
form,  however,  the  tone-values  of  plain 
chant  were  determined  by  rules  very 
similar  to  those  for  poetical  metre. 
Just  as  a  poem  consists  of  lines,  the 
lines  of  feet,  and  the  feet  of  2  or  more 
syllables,  a  melody  was  divided  into  so- 
called  distinctions  consisting  of  a  more 
or  less  extended  group  of  ncumes 
(notes),  a  distinction  being  in  turn 
divided  into  single  neumes  (single  notes), 
each  neume,  finally,  representing  one 
or  more  tones.  Thus  a  metrical  line 
corresponded  to  a  musical  distinction, 
a  metrical  foot  to  a  musical  neume,  and 
a  syllable  to  a  t.me.  (Comp.  Notation^ 
§3.) 

Plainte  (Fr.)     A  lament. 

Plaisanterie  (Fr.)  A  divertissement  lor 
harpsichord  or  clavichord. 


PLANCHETTE— POLYPHONY. 


155 


Planchette.  I.  A  board  studded  with 
pins  or  pegs,  an  essential  part  of  the 
mechanism  of  Xhe  piano  mecanique. — 2. 
See  Pianista  2. 

Plantation.  In  the  organ,  the  dispo- 
sition or  arrangement  on  the  soundboard 
of  the  pipes  composing  a  stop. 

PlaquS  (Fr.)  Struclv  at  once ;  as  tm 
accord  plaijii/,  a  "solid  "  chord  ;  opp. 
to  arpe'gt',  arpeggio'd,  broken. 

Plec'trum  (Lat.;  Gk.  plectron.)  A  small 
piece  of  ivory,  tortoise-shell,  or  metal, 
held  between  the  forefinger  and  thumb, 
or  fitting  to  the  latter  by  a  ring,  and 
used  in  playing  certain  instr.s  to  pluck 
or  twang  the  strings  (mandolin,  zither  ; 
the  zither-plectrum  is  called  the  "ring"). 

Plein-jeu(Fr.)  i.  A  stop  or  combination 
of  stops  bringing  out  the  full  power  of 
the  organ,  harmonium,  etc. — 2.  Same 
as  Fourniture. 

Pli'ca  (Lat.)     One  of  the  neumes. 

Plus  (Fr.)     More. 

Pneu'ma  (Gk.  "breath".)  The  long 
coloratura  or  vocalise  on  the  last  syllable 
of  the  Alleluia  (early  Christian  Church), 
so  called  because  taxing  the  singers' 
lungs  ;  a  jubilation. 

Pneumatic  action.  See  Organ . .  .  P^tcii- 
matic  organ,  the  ordinary  pipe-organ, 
as  contradistinguished  from  the  early 
hydraulic  organ. 

Pochette  (Fr.)  A  kit. 
^Po'co  (It.;  superJ.  pockis'simo;  dimin. 
pochettl'no,  pocket' to;  abbr.  /(?'.)  A 
\\\X\&. .  .Poco  a  poco,  little  by  Jittle, 
gradually.  .  .Poco  allegro,  tather'~fast ; 
poco  largo,  rather  slow. 

Poggia'to  (It.)     Leaned  or  dwelt  upon. 

Po'i  (It.)     Then,  thereafter. 

Point.  I.  See  Notation,  §  3. — 2.  A  dot. 
— 3.  A  staccato-mark. — 4.  The  attack 
by,  or  entrance  of,  an  instrumental  or 
vocal  part  bringing  in  a  prominent 
motive  or  theme. — 5.   Head  (of  a  bow). 

Point  (Fr.)  A  dot  {point  d' augmentation). 
.  .Point  d' arret,  de  repos,  a  hold  (o). 
..Point  final,  final  ^dMSt.  ..  Point 
d'orgue,  (a)  a  hold  ;  {l>)  an  organ-point ; 
(c)  a  solo  cadenza  or  flourish .  .  .  Points 
d/tac/i/s,  staccato-dots. .  .  Point  sier  tete, 
dot  above  (or  below)  the  head  of  a  note. 

Pointe  (Fr.)  i.  Point  or  head  (of  a  bow). 
— 2.  Toe  (in  organ  playing  ;  abbr.  // 
— t p  =  talon  pointe ;  Engl,  h  t  ^=^  heel 
toe, — but  comp.^re  Signs  [o  vj). 


Points  (Fr.)     Dotted. 

Pointer  (Fr.)  i.  To  dot.— 2.  To  ex- 
ecute staccato. 

Poitrine  (Fr.)  Chest;  voix  de  p.,  z\\t.s\.- 
voice. 

Polac'ca  (It.)  Polonaise.  .  .^//rt /,  in 
the  style  of  a  polonaise. 

Polichinelle  (Fr.)  A  grotesque  clog- 
dance  ;  also,  the  tune  to  which  it  is 
performed. 

Polka.  (Bohemian  pulka.)  A  lively 
round  dance  in  2-4  time,  originating 
about  1830  as  a  peasant-dance  in  Bo- 
hemia. .  .  Polka-mazur ka,  a  form  of 
mazurka  accommodated  to  the  steps  of 
the  polka. 

Polonaise  (Fr. ;  Ger.  Polotid'se;  It.  po- 
lac'ca.) A  dance  of  Polish  origin,  in  3- 
4  time  and  moderate  tempo,  formerly  in 
animated  processional  form,  but  in  the 
modern  ball-room  merely  a  slow  open- 
ing promenade,  supplanting  the  old 
Entree.  The  rhythm  is  characterized 
by  the  commencement  on  the  strong  beat 

with  a  sharp  accent    •  SJT  T  T  T 

and    by   the    close   on    the    last    beat 

Polska.  A  Swedish  dance  in  triple  time, 
somewhat  like  the  Scotch  reel,  and 
generally  in  minor. 

Polychord.  ("  Having  many  chords 
[strings]".)  An  instr.  in  the  shape  of 
a  bass  viol,  with  movable  fingerboard 
and  10  gut  strings  ;  played  either  with 
a  bow  or  by  plucking  with  the  fingers. 
Inv.  by  Fr.  Hillmer  of  Berlin,  first  half 
of  19th  century.  It  never  became  pop- 
ular. 

Polymor'phous.  Having,  or  capable  of 
assuming,  many  forms.../",  counter- 
point, a  style  of  contrapuntal  compo- 
sition admitting  of  a  manifold  variation 
of  the  theme  (as  in  the  fugue  by  inver- 
sion, augmentation,  diminution,  etc.) 

Polyphon'ic.  i.  Consisting  of  2  or 
more  independently  treated  parts  ; — 
contrapuntal ; — concerted  ;  opp.  to  ho- 
mophonic  and  Jiarinonic. — 2.  Capable 
of  producing  2  or  more  tones  simulta- 
neously, as  the  pianoforte,  harp,  or  or- 
gan ;  opp.  to  vionophonous,  and  equiv- 
alent Xo  polyphonous, 

Pol'yphony.  In  mus.  composition,  the 
combination  in  harmonious  progression 
of  2  or  more  independent  parts  (as  opp. 


156 


POMMER— PRECENTOR. 


to  Homophony) ;  the  independent  treat- 
ment of  the  parts  (as  opp.  lo  Harmony)  ; 
— counterpoint  in  the  widest  sense  ;  — 
concerted  music.  (Also  pron.  polyph'- 
ony.) 

Pom'mer  (Ger.)     See  Bomhani. 

Pompe  (Fr.)  A  tuning-slide  (in  the  trom- 
bone, horn,  and  various  other  instr.s). 

Pompo'so  (It.)  Pompous,  majestic,  A\'g- 
rxi'ae.d.  .  .  PomposaiHc-n' te,  in  a  broad 
and  dignified  style. 

Ponctuatioa(Fr.)  Phrasing. .  .Ponctuer, 
to  phrase. 

Pondero'so  (It.)  Ponderous,  heavy, 
very  strongly  marked. 

Ponticel'lo  (It.)  i.  The  bridge  of  bow- 
'"  instr.s.  .,.Sul p.,  near  the  bridge  ;  a  di- 
rection to  play  near  the  bridge,  the 
tones  resulting  having  a  more  or  less 
strident  and  metallic  sound  ;  abbr.  j'. 
font. ;  opp.  to  stil  tasto. — 2.  The  break 
in  the  voice. 

Pont-neuf  (Fr.)  Generic  title  for  popular 
street-songs  in  Paris. 

Portamen'to  (It.;  equiv.  to  poriar'  la 
voce,  to  carry  the  voice  ;  see  Port  de 
voix.)  A  smooth  gliding  from  one 
tone  to  another  ;  an  effect  attained  in 
great  perfection  on  bow-instr.s,  the 
melody-strings  of  the  zither,  and  with 
the  human  voice.  It  differs  from  the  Ic- 
^dtonnt  only  in  its  more  deliberate  e.xccu- 
tion,  but  also  in  the  actual  (though  very 
rapid  and  slurring)  sounding  or  passing- 
through  the  intermediate  tones,  with- 
out a  noticeable  break,  -  f' 
or  a  pause  on  any  tone.  I 
It  may  be  written  thus  :  ' 

Portan'do  (It.,  "carrying"".)  Usually 
in  the  phrase  /.  h  voce,  carrying  the 
voice,  i.  e.  portamento. 

Portata  (It.)     Staff. 

Portatif(Fr.),  Portativ' (Ger.)  Porta- 
tive organ,  i.  e.  a  small  organ  conven- 
ient of  transportation  ;  opp.  to  positif. 

Port  de  voix  (Fr.)  i.  Portamento. — 2. 
See  Accent,  Chute. 

Port^e  (Fr.)     The  staff. 

Porter  la  voix  (Fr.)      See  Portamento. 

Portunal  flute.  An  open  wooden  flue- 
stop  in  the  organ,  with  pipes  wider  at 
top  than  at  the  mouth. 

Portu'nen  (Ger.)     Bourdon  (org.) 

Posa'to  (It.)     Sedate,  dignified. 

Ppsau'ne   (Ger.)     i.    Trombone. — 2.    A 


reed-stop  in  the  organ,  having  metal 
pipes  of  broad  scale  and  8-foot  pitch 
(manuals)  or  i6-foot  pitch  (pedal)  ;  the 
32-foot  stop  is  called  the  contra-posaune. 

Poschet'te.     Ger.  form  of  Pochette. 

Pos^ment  (Fr.)     Posato. 

Poser  la  voix  (Fr.)  To  attack  a  vocal 
tone  with  clearness  and  precision. 

Positif  (Fr.),  Positiv' (Ger.)  A  "posi- 
tive "  or  stationary  organ  ;  opp.  to  por- 
tatif. — Also,  the  French  term  for  choir- 
organ  ;  and  (in  German)  a  small  partial 
organ  in  front  of  the  main  instr.  was 
often  called  Riickpositlv,  because  usual- 
ly behind  the  organist. 

Position,  I.  (Ger.  La'ge;  Fr.  position; 
It.  posizio'ne.)  The  place  of  the  left 
hand  on  the  fingerboard  of  the  violin, 
etc.  In  the  ist pos.,  the  forefinger  stops 
the  tone  or  semitone  above  the  open 
string  ;  by  shifting  up  (see  Shift)  so 
that  the  ist  finger  takes  the  place  pre- 
viously occupied  by  the  2nd,  the  2nd 
pos.  is  reached ;  and  so  on  for  each 
succeeding  position.  There  are  11 
positions  in  all,  but  only  7  are  commonly 
employed. — The  half-position  is  the 
same  as  the  ist  pos.,  e.xcept  that  in  it 
the  2nd,  3rd,  and  4th  fingers  occupy 
the  places  taken,  in  the  1st  pos.,  by  the 
1st,  2nd,  and  3rd  fingers. — 2.  The 
arrangement  of  notes  in  a  chord  with 
reference  to  the  lowest  part  ;  in  the  ist, 
or  fundamental,  position  the  lowest 
part  takes  the  root ;  in  the  2nd  position 
it  takes  the  third,  etc. — 3.  Close  and 
open  position,  see  Harmony. 

Possi'bile  (It.)  Possible  ;  pianissimo 
possibile,  as  soft  as  possible  :  //  piit 
presto possibile,  as  rapid  as  possible. 

Post-horn.  The  straight  horn  used  by 
postmen.     See  Appendix. 

Post'lude.  (Lat.  postlu' dium ;  Ger. 
Nachspiel;  Fr.  cloture.)  A  concluding 
voluntary  on  the  organ,  closing  a 
church-service. 

Pot-pourri  (Fr.)  A  musical  medley,  all 
kinds  of  tunes  or  parts  of  tunes  being 
juxtaposed  in  an  arbitrary  manner,  often 
with  very  flimsy  connecting-links. 

Poule  (Fr.)  The  3rd  movement  or  fig- 
ure in  the  quadrille. 

Pousse  (Fr.,  "pushed".)     Up-bow. 

Prach'tig  (Ger.,  "splendid".)  Grand, 
majestic,  dignified.     (Also  adverb^ 

Praecen'tor  (Lat.)    Precentoft 


PRALLTRILLER— PRIMZITHER. 


157 


Prairtriller  (Ger.)  An  inverted  mor- 
dent.    (Also  Pral'kr:) 

Praludie'ren  (Ger.)     To  prelude. 

Prazis'  (Ger.)     Precise,  e.\act. 

Pream'buium  (Lat.)  A  prelude,  intro- 
duction. 

Precen'tor.  In  the  Anglican  Church, 
a  director  and  manager  of  the  choir  and 
of  the  musical  services  in  general,  rank- 
ing after  the  Dean,  and  sitting  on  the 
side  of  the  choir  opposite  to  the  latter, 
whence  the  terms  cantoris  (i.  e.  the  pre- 
centor's) and  decani  (the  Dean's)  side. 

Precipitan'do,  Precipitatamen'te (It.) 
Precipitately  ;  calls  for  a  rapid  and  bold 
execution  of  the  figure  or  passage  so 
marked  ;  prccipita'to  (also  prccipito' so), 
(Fr.  precipite),  precipitate. 

Precisio'ne,  con  (It.)  \Vith  precision. 
..Prcii'so,  precise,  exact. 

Preghie'ra  (It.)  A  prayer  ;  a  modern 
title  for  certain  melodious  salon-pieces 
of  a  more  or  less  devotional  character. 

Prel'ude.  (Lat.  prcrlu'diam;  li.prelu'- 
dio;  Fr.  prelude;  Ger.  Vor' spiel)  A 
piece  of  music  introductory  or  prepara- 
tory to  another  and  more  extended 
movement  or  composition,  or  to  a  dra- 
matic performance,  church-service,  etc. 
The  prelude  has  no  distinctive  form  or 
independent  character,  being  adapted 
to  what  is  to  follow  it.  (Comp.  Oz'cr- 
ture.) — The  short  piano-pieces  by  Cho- 
pin, entitled  "Preludes",  are  anoma- 
lous, not  having  been  intended  for  in- 
troductory pieces. — An  organ-prelude 
to  the  church-service  is  commonly  called 
a  voluntary. 

Premier  (Fr.,  iem.  premiere.)  First... 
P rentier  dessus,  first  soprano ... /"^v- 
niiere  fpis,  first  time.  .  .A  premiere  vue, 
at  first  sxght.  .  .Premiere  {noun),  the 
first  production  of  a  dramatic  work. 

Preparation.  (Ger.  Vor'berciiung;  Fr. 
preparation;  It.  preparazio'ne.)  The 
/.  of  a  dissonance  consists  in  the  pres- 
ence, in  the  preceding  chord  and  same 
part,  of  the  tone  forming  the  dissonance. 
(Comp.  Percussion,  Counterpoint,  and 
Substitution.) 
Prepare,  i.  See  Preparation. — 2.  To 
introduce  by  a  grace-note  or  figure  ;  e. 
g.  a  prepared  trill  is  one  prefaced  by  a 
turn  or  other  grace. 

Pre'sa  (It.)  A  sign  marking  the  succes- 
sive entrance  of  the  parts  of  a  canon, 
having  various  forms  (\S';  -S-  -j-  ^  etc.) 


Pressan'te  (It.)  Accelerando,  strin- 
gendo. 

Pressez  (Fr.)  Accelerando,  stringendo  ; 
pressez  tin  pen,  poco  stringendo. 

Pressure-note.  A  note  marked  thus 
P,  indicating  a  sudden  pressure  or  cre- 
scendo following  the  attack. 

Prestant  (Fr.)  An  open  flue-stop  in  Fr. 
and  Ger.  organs,  generally  of  4-foot 
pitch  ;  equiv.  to  Engl.  Principal. 

Prestez'za,  con  (It.)  With  rapidity  (of 
movement  or  execution). 

Prestissimamen'te,  Prestis'simo  (It.) 
Very  rapidly,  as  fast  as  possible. 

Pres'to  (It.)  I.  Fast,  rapid  ;  indicates 
a  degree  of  speed  above  allegro  and  he.- 
\o\\ prestissimo. .  .P.  assa'i,  very  rapid. 
■ — 2.  A  rapid  movement,  most  frequently 
concluding  a  composition. 

Prick.  In  earlier  terminology,  the  dot 
or  mark  forming  the  head  of  a  note ; 
to  prick  meaning,  to  write  music. 
Ilence,  prick-song,  (a)  written  music, 
opp.  to  extemporized  ;  (/')  the  counter- 
point to  a  cantus  Jinnus,  the  point 
against  point. 

Primary  accent.  The  down-beat  or 
thesis  ;  the  accent  beginning  the  mea- 
sure, directly  following  the  bar.  .  .Pri- 
mary triad,  one  of  the  3  fundamental 
triads  of  a  key  (those  on  the  ist,  5th, 
and  4th  degrees). 

Prime.  I.  The  first  note  of  a  scale. — 2. 
See  Interval. .  .Prime  tone,  same  as 
generator. — 3.  The  2nd  of  the  canon- 
ical hours. 

Prim'geiger  (Ger.)   Leader  (ist  violin). 

Pri'mo,-a  (It.)     Y'w'il. .  .Prima  buf'fa, 

■  the  leading  female  singer  in  comic 
opera  ..Prima  don'na  ("  first  lady "), 
the  leading  soprano  singer  in  the  opera. 
.  .Prima  vi'sta,  at  first  sight.  .  .Prima 
vol'ta,  the  first  time  ^abbr.  Ima  volta, 
or  simply  I,  or  i.);  indicates  that  the 
measure  or  measures  under  its  bracket 
are  to  be  played  the  first  time,  before 
the  repeat  ;  whereas,  on  repeating,  those 
marked  sccun'da  volta  (abbr.  I  Ida  volta. 
or  simply  II,  or  2.)  are  to  be  performed 
instead. —  Tempo  primo,  at  the  first  or 
former  rate  of  speed . . .  Primo  uo'mo, 
the  first  male  soprano  {castra'to),  or 
first  tenor.  (Obsolete  in  both  senses.) 
Pri'mo   (It.,  noun.)     A    first  or  leading 

part,  as  in  a  duet. 
Prira'zither  (Ger.)     Treble  zither. 


158 


PRINCIPAL— PSAUME. 


Principal,  i.  In  the  organ,  a  flue-stop  of 
open  metal  pipes,  of  4-foot  pitch  on  the 
manual,  and  8-foot  pitch  on  the  pedal. 
(In  Ger.,  Prinzipal'  is  the  open  dia- 
pason.)— 2.  Theme  of  a  fugue  (obso- 
lete). 

Principal  chords.  The  basic  chords  of 
a  key,  i.  e.  the  triads  on  the  tonic, 
dominant,  and  subdominant,  with  the 
dom.  chord  of  the  7th.  (Also  called 
fioidaincntal,  primary^  etc.) 

Principa'le  (Tt.)  i.  Diapason  (organ- 
stop). — 2.  Principal,  chief  ;  also,  prin- 
cipal or  leading  part. — 3.  .Sometimes 
found,  in  old  scores,  for  troiiiba  (trum- 
pet). 

Princ"pal-work.     See  Stop  {noun)  2. 

Princi'pio  (It.)  Beginning,  first  time. 
[In  Beethoven,  Op.  27,  No.  2,  1st 
movem.:  "piu  marcato  del  principio," 
more  marked  than  the  first  time.] 

Prise  du  sujet  (Fr.)  Entrance  of  the 
subject. 

Pro'be  (Ger.)  Rehearsal. .  .  General' probe, 
full  rehearsal. 

Proceed.     (Fr.  procJder.)     To  progress. 

Pro'gram.  (Ger.  Prograimn' ;  Yx.  pro- 
gramme;  It.  program' via.)  A  list  of 
compositions  to  be  performed  at  a  con- 
cert.. .  Program-miisic{i}cr.Prog}-amm'- 
musik),  a  term  of  modern  invention, 
applied  to  a  class  of  instrumental  com- 
positions intended  to  represent  distinct 
phases  of  emotion,  or  actual  scenes  or 
events  ;  sometimes  made  synonymous 
with  "  descriptive  music".  The  "pro- 
gram "  of  such  a  composition  may  be 
merely  its  title  ;  or  occasional  interpo- 
lated remarks  ;  or  a  concise  summary 
of  its  poetic  subject-matter,  appended 
as  a  description  for  the  better  compre- 
hension of  the  music. 

Progress'.  (Ger.  forfschreiten;  Fr. 
proceJer,  marcher.)  To  advance  or 
move  on  ;  in  melody,  from  one  tone  to 
another;  in  harmony,  from  one  chord 
to  zxiO'On.&x ..  .Progression  (Ger.  Fort'- 
schreitung ;  Fr.  progres,  inarche;  It. 
progressio' ne),  the  advance  from  one 
tone  to  another,  or  from  one  chord  to 
another ;  the  former  is  melodic,  the 
latter  harmonic,  progression. 

Progressive  stop.  .\  compound  organ- 
stop  in  which  the  number  of  ranks  in- 
creases as  the  pitch  rises. 

Prolation.  {haX.  prola'fio.)  See  A''ota- 
ti<^*h  §3- 


Prolongement  (Fr.)  i.  A  mechanical 
attachment  in  the  reed-organ  for  hold- 
ing down  single  keys  after  the  fingers 
are  raised. — 2.   Sustaining-pedal. 

Promptement  (Fr.),  Prontamen'te 
(It.)     Promptly,  swiftly. 

Pron'tOj-a  (It.)     Prompt,  speedy. 

Pronunzia'to(It.)  Pronounced,  marked; 

Ihiipi-.,  well,  clearly  enunciated. 
Proportion.       (Lat.     propor'tio!)      See 

A'otation  §  3,  and  Nachtanz. 

Propo'sta  (It.)     Theme  of  a  fugue. 

Propri'etas  (Lat.)  A  term  applied  to  a 
ligature  when  the  first  note  was  a  breve. 
It  was  indicated,  when  the  2nd  note 
was  the  lower,  by  a  descending  tail  on 
the  left  (seldom  on  the  right)  of  the 
first  note  ;  when  the  2nd  was  the  higher, 
by  the  absence  of  the  tail.  Oppo'sita 
proprietas  occurred  when  the  first  2 
notes  of  the  ligature  were  semibreves, 
— indicated  by  an  ascending  tail  to  the 
left  of  the  first  note.  . .  Si' ne proprietas, 
same  as  Impropri'etas. 

Prose.     (Lat.  pro'sa)     See  Sequence. 

Proslambanom'enos  (Gk.)  See  Greek 
music,  p.  8g. 

Prosody.  (Lat.  and  It.  prosodi'a;  Fr. 
and  Ger.  Prosodie'.)  Metrics,  or  the 
science  of  metre ;  specifically,  the 
science  of  the  quantity  of  syllables,  and 
of  accentuation,  as  affecting  versifica- 
tion. 

Prospekt'  (Ger.)  The  front  of  an  organ. 
.  .Prospekt'pfeifcn,  front  or  display- 
pipes  ;  also  Fronipfeifen. 

Pro'va  (It.)     Rehearsal. 

Psalm-melodicon.  A  wood-wind  instr. 
with  8  finger-holes  and  25  keys,  having 
a  compass  of  4  octaves,  and  so  con- 
structed that  from  4  to  6  tones  could  be 
produced  at  once.  Inv.  by  ^Veinrich  of 
Ileiligenstadt  in  1828  ;  improved  by 
Leo  Schmidt  in  1832,  by  whom  it  was 
called  the  Apollo-Lyra. 

Psal'tery.  (Lat.  psalte'rium;  It.  salte'- 
rio;  Yx.psalterion;  G&r.  Psal'ter.)  An 
instr.  of  very  ancient  origin,  and  in 
use  down  to  the  17th  century,  known  to 
the  Hebrews  as  the  kinnor,  to  the 
Germans  as  the  Rotta;  a  kind  of  harp- 
zither,  with  a  varying  number  of  strings 
plucked  by  the  fingers  or  with  a  plec- 
trum. The  strings  were  stretched  over 
a  soundboard,  as  in  the  dulcimer. 

Psaume  (Fr.)    A  psalm. 


PSAUTIER— QUATUOR. 


159 


Psautier  (Fr.)     Psalter. 

Pul'satile  instruments.  Instr.s  of  per- 
cussion {ha.t.  fi</saii/ia). 

Pulse.     A  beat  or  accent. 

Punc'tus,  or  Punc'tum  (Lat.)  i.  A  dot. 
— 2.  A  note.  .  .Functus conlrapunctitm^ 
counterpoint. 

Punkt  (Ger.)  A  dot. .  .Pimktiert',  dot- 
ted. 

Pun'ta  (It.)     Point  (of  the  bow). 

Pun'to  (It.)  Y)o\..  ..Pitnta'to,  dotted; 
staccato'd. 

Pupitre  (Fr.)     Music-desk. 

Purf'ling.  The  ornamental  border  on 
the  bellies  and  backs  of  violins,  etc. 

Put'ti  (It.,  pi.)     Boys,  choir-boys. 

Pyramidon.  An  organ-stop  having 
short  covered  pyramidal  pipes  more 
than  4  times  as  wide  at  top  as  at  mouth, 
and  of  l6'  or  32'  tone. 

Pyr'rhic,  Pyrrhich'ius.  A  metrical 
foot  consisting  of  2  short  svllables 
(--). 

Pythian  metre,  verse.      The  dactylic 

(or    spondaic)    hexameter  ( 1 

I- -I- -I- -I--). 

Q. 

Quadrat' (Ger.)  A  natural  (t!).— (Engl.) 
In  medieval  music,  a  breve  (Lat. 
quadra'  turn). 

Quadrici'nium  (Lat.)  A  composition  in 
4  parts. 

Quadrille.  (It.  quadri'gUa^  A  square 
dance  consisting  of  5^  (or  6)  figures 
named  le  Pantalon,  I' Et^,  la  Pciik,  la 
Pastourelle,  {la  Trenise),  and  la  Finale. 
The  time  alternates  between  3-8  (6-8) 
and  2-4. 

Quadruple  counterpoint.  See  Counter- 
point. . .  Q.  croche  (Fr.),  a  64th-note.  . . 
Q.  rhythm  or  time,  that  characterized 
by  4  beats  to  the  measure. 

Quad'ruplet.     A  group  of  4  equal  notes 
to  be  executed  in  the  time  of  3  or  6  of 
the  same  kind  in  the  re-    1     1     1     1 
gular  rhythm;    written*  •4*  *' 

Quality  of  tone.  (Ger.  Ton'farbe;  Fr. 
timbre;  It.  iimbro.)  That  characteris- 
tic peculiarity  of  any  vocal  or  instru- 
mental tone  which  distinguishes  it  from 
the  tone  of  any  other  class  of  voices  or 
instr.s. 

Quantity.     In  metrics,  prosodic  length, 


i.  e.  the  time-value  of  a  syllable. — In 
P^nglish  versification  this  is  apt  to  be 
disregarded,  accented  and  unaccented 
syllables  taking  the  place  of  long  and 
short  ones. 

Quart.     The  interval  of  a  fourth. 

Quart  (Fr.)  Quarter...^,  de  soupir,  a. 
l6th-rest. 

Quar'ta  (Lat.  and  It.)  The  interval  of 
a  fourth.  .  .  Q.  modi  {toni),  the  subdom- 
inant. 

Quar'te  (Ger.  and  Fr.)  The  interval  of 
a  fourth...  (2-  du  ton  (F^)  the  sub- 
dominant. 

Quar'tenfolgen  (-parallelen)  (Ger.) 
Consecutive  or  parallel  fourths. 

Quarter-note.  (Ger.  Vier'telnote,  Vier'- 
tel;  Fr.  noire;  It.  ne'ra.)  A  crotchet 
(J).  (Sometimes  abbrev.  to  Quarter.) 
—  Quarter-rest,  a  rest  equivalent  in 
time-value  to  a  quarter-note  (X,  ^  or 
^ ).  (Also  called  quarter-note  rest,  and 
crotchet-rest.) 

Quartet'.  (Ger.  Quartett' ;  Fr.  quatuor; 
It.  quartet'to.)  I.  A  concerted  instru- 
mental composition  for  4  performers,  in 
symphonic  form. — 2.  A  comp.  or  move- 
ment, either  vocal  or  instrumental,  in  4 
parts. — 3.   The  4  performers  themselves. 

Quart'fagott  (Ger.)  See  Bassoon... 
Quart' Jlote,  se^eFlote.  . .  Quart'geige.  see 
Violin.  .  .Qtiartsext'akkord,  chord  of 
the  fourth  and  sixth  (|  chord). 

Quarto  d'aspetto  (It.)     A  i6th-rest. 

Quarto'le  (Ger.)     A  quadruplet. 

Qua'si  (Lat.  and  It.)  As  if,  as  it  were ; 
like  ;  nearly,  approaching.  E.  g.,  An- 
dante quasi  allegretto,  andante  approach- 
ing allegretto. 

Qua'ter.     See  Bis  3. 

Quatorzifeme  (Fr.)  The  interval  of  a 
fourteenth. 

Quatre  (Fr.)  Four...W  quatre  mains, 
for  4  hands. 

Quat'rible.  In  medieval  music,  a  coun- 
terpoint progressing  in  parallel  fourths 
to  the  cantus  Jirvius;  a  qiiinible  pro- 
gressed in  parallel  fifths. 

Quatrici'nium  (Lat.)  A  composition  in 
4  parts. 

Quattricro'ma  (It.)     A  64th-note. 

Quat'tro  (It.)  Four. .  .A  quattro  mani, 
for  4  hands. 

Quatuor  (Fr.)  A  quartet,  vocal  or  instru- 
mental. 


l60 


QUAVER— QUODLIBET. 


Quaver.     An  eighth-note. 

Quer'flote  (Ger.)  Orchestral  flute... 
Qiwr'pfi-ifr,  a  fiie.  .  .Quc-t'stan<l,  false 
or  inharmonic  relation.  Quer's/rich, 
the  thick  stroke  substituted  for  the 
hooks  of  hooked  notes  when  grouped. 

Queue  (Fr.,  "tail".)  i.  Stem  of  a  note. 
— 2.  Tailpiece. .. /"/(?«(?  a  queue,  sec 
Piano  (Fr.) 

Quickstep.     See  March. 

Quie'to  (It.)  Calm,  quiet  ;  opp.  to  a^^i- 
ta'to. 

Quinde'cima  (It.)  A  fifteenth  (either 
the  interval  or  the  organ-stop). ..  ^ //<? 
q.  (abbr.  ij'""),  two  octaves  higher  (or 
lower). 

Quinde'zime  (Ger.)  The  interval  of  a 
fifteenth. 

Quin'ible.     See   Quatrihle. 

Quin'quegrade.      Same  as   Petitatonic. 

Quint.  I.  The  interval  of  a  fifth. — 2. 
A  5j-foot  organ-stop,  sounding  a  fifth 
higher  than  the  normal  8-foot  pitch. — 
3.  The  j^'-string  of  tlie  violin. — 4.  See 
Violin. .  .  Quint-stride,  the  (iz)  harmonic 
or  (/')  melodic  progression  of  a  fifth : 
{a)  (/') 


^ 


^m 


V 

Quin'ta  (Lat.  and  It.)  The  interval  of  a 
fifth. .  .  Q.  de'cima,  the  int.  of  a  fifteenth. 
..Quinta  fal'sa  ("false  fifth"),  the 
prohibited  melodic  interval  between  /«/ 
in  the  hexachoi-dum  durum  and  fa  in 
the  hex.  naturale  :  the  modern  dimin- 
ished fifth. .  .  Q.  fno'di  (to'ni),  the  dom- 
inant (comp.  Qui  lit  u  s). .  .Alia  quinta, 
at  or  in  the  fifth. 

Quint'absatz  (Ger.)  A  half-close,  in 
the  midst  of  a  piece,  on  the  dominant ; 
same  as  ITalhkadenz. 

Quintaton'  (Ger.)  In  the  organ,  a  cov- 
ered flue-stop  of  8,  16,  or  32-foot  pitch. 

Quinte  (Fr.)  See  i  and  2  below... 
Quintes  cach/es,  covered  fifths. 

Quin'te  (Ger.)  i.  The  inter\'al  of  a  fifth. 
— 2.  See  Quint  2. — 3.  The  ^-string  of 
the  violin  (Fr.  chanterelle).  .  .Quin'iefi- 
folgcn,  -parallen,  consecutive  fifths. . . 
Quitt'tenrein,  an  epithet  applied  to 
strings  of  bow-instr.s,  signifying  that 
they  produce  "true  fifths"  to  the  neigh- 
boring strings  throughout  their  length. 
. ,  Quin' tenzirkel,  circle  of  fifths. 


Quin'terne.  See  Lute.  A  species  of 
lute  or  guitar  extremely  popular  in  Italy 
some  200  years  ago,  with  a  body  resem- 
bling a  violin  and  from  3  to  5  pairs  of 
gut  strings,  to  which  were  sometimes 
added  2  wire -covered  single  strings. 

Quintet'.  (Ger.  Quintett' ;  Fr.  qniniuor; 
It.  quintet' to^  I.  A  concerted  instr'l 
comp.  for  5  performers,  in  symphonic 
form. — 2.  A  comp.,  movement,  or  num- 
ber,  vocal   or  instr'l,    in    5   parts. 

Quintie'ren  (Ger.)  To  overblow  by  a 
twelfth,  like  the  clarinet  and  other  instr.s 
with  single  reed. 

Quintoier  (Fr.)  i.  To  quinible  (also 
quintoyer). — 2.    See  Quintieren. 

Quinto'le  (Ger.)     Quintuplet. 

Quinton  (Fr.)  i.  The  5-stringed  treble 
viol,  or  (ace.  to  Rousse.\u)  the  tenor 
viol. — 2.   See  Saxhorn. 

Quint'stimme  (Ger.)  A  quint  (organ- 
stop).  ..  (?«/«^'/(>V?t',  quint-tones  (see 
Pitch,  §  2). 

Quintuor  (Fr.)     A  quintet. 
Quintuple  rhythm,  time.     That  char- 
acterized by  5  beats  to  the  measure. 

Quin'tuplet.     A  group  of  5  equal  notes 
to  be  executed  in  the  time  of  4  of  the 
same  kind  in  the  regu-  J  J  J  J  J 
lar   rhythm  ;    written  :  5 

Quintus  (Lat.)  "The  fifth"  part,  in 
compositions  of  the  i6th  century  writ- 
ten in  5  or  more  parts  ;  it  might  be  set 
for  any  one  of  the  usual  4  classes  of 
voices,  and  even  wander  from  one  to 
the  other,  whence  the  name  quintus 
vas^ans,  "wandering  fifth  "...Also 
Quinta  {tox). 

QuintvioTe  (Ger.)  i.  See  Quinton  1. — • 
2.  In  the  organ,  a  mutation-stop  (see 

Gambenstitnine). 

Quinzi^me  (Fr.)    The  interval  of  a  fifth. 

Quire.  Obsolete  for  Choir. . .  Quirisier, 
ditto  for  Chorister. 

Quod'libet  (Lat.,  "what  you  please"; 
also  Qtiot'lihet,  "  as  many  as  you 
please";  It.  mcssan'za,  mistichan'za, 
a  mixture.)  A  humorous  combination 
of  various  airs,  performed  either  si- 
multaneously or  one  after  the  other;  the 
latter  mode  differing  from  the  pot-pourri 
in  lacking  the  connecting  interludes  ; 
a  favorite  device  in  the  i6th  and  17th 
centuries,  and  occasionally  employed 
even  now. 


R— RECHANGE. 


ibi 


R. 

R.  Abbr.  for  right  (Ger.  rechie);  r.h.— 
right  hand  (rechfe  Hand);  for  ripieno; 
^  stands  in  Catholic  church-music  for 
Responsoriiim  ;  R(  "r,  for  Kesp.  Graduale; 
R,  in  Fr.  organ-music,  stands  for 
clavier  de  r/cit  (swell-manual). 

Rab'bia,  con  (It.)  With  passion,  frenzy; 
furiously. 

Rackett'  (Ger.;  also  J^ankei.)  i.  An 
obs.  wood-wind  instr.  of  the  bombard 
class,  with  the  tube  bent  many  times 
and,  in  consequence,  a  very  weak  lone; 
improved  byChr.  Denner,  who  reduced 
the  number'of  bends  and  made  it  more 
like  the  bassoon,  whence  the  later 
name  Rackett  {Fagott',  Stock' fagoit). 
— 2.  An  organ-stop  with  a  tone  re- 
sembling the  above. 

Racier  (Fr.)  To  scrape,  saw,  rach-ur, 
a  bungling  fiddler. 

Raddolcen'do,  Raddolcen'te  (It.) 
Growing  calmer  and  gentler.  .  .Raddol- 
cia'to,  gentler,  calmer. 

Raddoppiamen'to  (It.)  i.  Doubling 
chord-notes. — 2.  Manifolding  copies  of 
parts. — Raddoppia'to,  doubled. 

Ra'del  (Ger.)  See  Rundgesang. 
Radiating  pedals.  A  pedal-keyboard 
in  which  the  pedals  are  set  in  fan-shaped 
arrangement,  spreading  out  to  the  rear 
from  in  front,  and  concave  (i,  e.  some- 
what higher  at  the  sides). 
Radical  bass.     A  fundamental  bass. . . 

Radical  cadence,  see  Cadence. 
Rad'leier  (Ger.)     Hurdy-gurdy. 
Ra'dlmaschine  (Ger.)     Piston-mechan- 
ism. 
■  Rallentamen'to  (It.)     A  slackening  in 
tempo.  .  .Rallentan'do,  gradually  slack- 
ening the  tempo,  growing  slower  and 
slower  ;  equiv.  to   ritardando.     (Abbr. 
rail.) — Also   rallenta' to.  .  .Rallenta're, 
to  grow  slower  ;  senza  rallentare,  with- 
out slackening  the  pace. 
Rang  (Fr.)     Rank. 

Rank.  A  row  of  organ-pipes.  A  mix- 
ture-stop is  said  to  have  2,  3,  or  more 
ranks  according  to  the  number  of  pipes 
sounded  by  each  digital. 
Rant.  An  old  dance  ;  a  name  given  to 
the  tunes  of  various  country-dances, 
and  also  to  reels  (e.  g.  the  Cameronian 
Rant). 
Ranz    des   vaches   (Fr.;    Ger.    Kuk'- 


reigen,  ICuk'reiken.)  One  of  the  airs, 
or  variations  on  an  original  air,  sung, 
or  played  on  the  Alpine  horn,  in  the 
Swiss  Alps  as  a  call  '..o  the  cattle.  It 
is  characterized  by  oft-repeated  figures, 
rising  and  falling  broken  chords,  and 
(when  sung)  by  the  frequent  employ- 
ment of  the  Jodler. 

Rapidamen'te  (It.)  Rapidly ...  i'Pa/i- 
dita\  con,  with  rapidity ...  A'a'/Zdf't?, 
rapid. 

Rapsodie  (Fr.)  I.  Rhapsody  (see 
Rhapsodic). — 2.  A  composition  of 
bizarre  and  desultory  form,  lacking 
unity  and  consistency. 

Rasch  (Ger.)  Fast,  rapid,  swift... 
N'och  raschcr,  still  faster...  5^;  rasch 
ivie  m'd'glich,  as  fast  as  possible. 

Rasga'do  (Span.,  "a  rasping").  In 
guitar-playing,  the  sweeping  the  strings 
with  the  thumb  ;  hence,  the  arpeggio 
effect  so  obtained. 

Ras'tral,    Ras'trum.     (Ger.  Rastral'.) 

1.  Music-pen  2. — 2.  A  5-pointed  claw 
or  graver  used  by  music-engravers  for 
scoring  the  lines  of  the  staff  in  the 
zinc  plates. 

Rat'selkanon  (Ger.)  Enigmatical  canon. 
Rattenen'do,    rattenu'to     (It.)      See 

Ritcniito, 
Rauh  (Ger.)     I.  Harsh(ly),  rough(ly).— 

2.  noarse(ly). 

Rau'scher  (Ger.)  A  rapidly  repeated 
note,  as  on  the  pianoforte. 

Rausch'quinte  (Ger.)  In  the  organ,  a 
mixture-stop  of  2  ranks,  combining 
pipes  of  Sj  and  4-foot  pitch,  or  of  2\ 
and  2-foot  pitch,  w-ithout  a  break 
(Also  Rausch'Jidte,  -pfeife,  -quarte 
-Tverk.) 

Ravvivan'do  (il  tempo)  (It.)  Acceler- 
ating the  tempo. 

Ray.  For  Re,  in  the  Tonic  Sol-fa  sys- 
tem. 

Re.  Second  of  the  Aretinian  syllables, 
and  name  of  the  note  R>  in  Italy,  etc. — 
In  French,  Re'. 

Re'bec(k).  The  primitive  violin  of  me- 
dieval Europe,  known  in  Italy  as  the 
ribe'ba  or  ribe'ca,  and  in  Spain  as  the 
rabc,  7-abel.  The  body  was  shaped  like 
a  half-pear  ;  it  had  3  gut  strings,  which 
yielded  a  powerful,  strident  tone. 

Rechange (Fr.,  "exchange").  The  corps 
or  tons  de  rechange  are  the  crooks  of 
the  horn,  etc. 


l62 


RECHT— REED-ORGAN. 


Recht  (Ger.) 
hand. 


Right ;  rechte  Hand,  right 


R6cit  (Fr.)  i.  A  vocal  or  instrumental 
solo  part. — 2.  The  leading  part  in  a 
piece  of  concerted  music. — Clavier  de 
r^cit,  swell-manual. 

Recital,  In  the  usual  acceptation  of  the 
term,  a  concert  at  which  either  {a)  all 
the  pieces  are  executed  by  one  perform- 
er [as  di pftc.-recital\  or  (/')  all  pieces 
performed  are  by  one  composer. 

Recitan'do  (It.)    In  declamatory  style. 

R6citant,-e  (Fr.)  One  who  sings  or 
plays  a  solo. 

Recitati've(teev')-  '^'^■Radtati'vo;  Fr.  ri- 
citatif;  Ger.  Recitativ' .  A  style  of  de- 
clamatory singing,  dating  from  1600 
(the  earliest  operas),  and  springing 
from  the  efforts  to  emancipate  dramatic 
song  from  the  contrapuntal  forms  then 
in  vogue.  The  first  recitatives  had  a 
very  simple  accompaniment,  a  mere  fig- 
ured bass  {recitativo  sec'co)  ;  this  broad- 
ened into  the  recitativo  accompagna'to 
(or  obblif^a'/o,  stromenta'to ;  Fr.  equiv. 
ohlig/,  accoinpagnd),  in  which  the  instru- 
mental parts  were  invested  with  more 
life,  variety,  and  musical  importance. — 
Unless  marked  7-<;citativo  a  tempo,  the 
recitative  may  be  performed  ad  libitum. 
The  connecting-link  between  the  rec. 
of  the  opera  and  oratorio  and  the  A'j-ia 
is  found  in  the  Ario' so. —  IFagner's  rec. 
differs  from  the  earlier  forms  in  the  per- 
fectly natural  musical  inflection  of  the 
vocal  part  (the  ancient  cadences,  etc. , 
being  abolished),  and  the  richly  instru- 
mented and  marvelously  pregnant  ac- 
companiment (comp.  Melos). 

Reciter  (Fr.)     To  sing  or  play  a  rdcit. 

Reciting-note.  That  tone,  in  any  Gre- 
gorian mode,  on  which  the  greater  por- 
tion of  every  verse  in  a  psalm  or  can- 
ticle is  continuously  recited  ;  i.  e.  the 
dominant  of  the  mode. 

Recorder.  An  obsolete  species  of  flageo- 
let, having  7  finger-holes  on  the  upper 
side  and  one  below,  with  an  extra  hole 
near  the  mouthpiece  covered  with  a  thin 
membrane  (goldbeaters'-skin),  and  pro- 
bably influencing  the  quaU-^ — — - 

ity  of  the  tone.    Compass  (fh~J     -     "" 

u     ^  „      ..  r  jr\  Isazzia — ward, 

about  2  octaves,  from  / ' :  iT 

Recte  et  retro  (Lat.,  "forwards  and 
backwards").  Direction  for  performing 
a  canon  cancrizans. 

Rectus  (Lat.)     See  Motus. 


Reddi'ta,  Redi'ta  (It.)     A  repeat. 
Redoubled  interval.     A  compound  in- 
terval. 

Red'owa.  A  dance  derived  from 
Bohemia,  and,  like  the  Mazurka,  though 
less  strongly  accented,  in  3-4  time  and 
lively  tempo.  In  Bohemia  there  are  2 
varieties,  the  Rejdovak  in  3-4  or  3-8 
time,  and  the  Rejdovacka  in  2-4  time. 

R^duire  (Fr.),  Reduzie'ren  (Ger.)  To 
reduce  the  volume  of  a  composition  by 
rearranging  it  for  a  smaller  number  of 
instr.s,  while  preserving  its  form  as  far 
as  possible. 

Redundant.  Same  as  Atigmenied  (of 
chords  and  intervals). 

Reed.  (Ger.  Roh'hlatt,  Zung'e ;  Fr. 
anche ;  It.  an'cia,  lin'gua.)  A  thin 
strip  of  cane,  wood,  or  metal,  so  ad- 
justed before  an  aperture  as  nearly  to 
close  it,  fixed  at  one  end,  and  set  by  an 
air-current  in  vibration,  which  it  com- 
municates either  to  an  enclosed  column 
of  air  (organ-pipe,  oboe,  etc.),  or  direct- 
ly to  the  free  atmosphere,  thus  produc- 
ing a  musical  tone.  There  are  2  classes 
of  reeds,  (i)  Free  Reeds,  which  vibrate 
within  the  aperture  without  striking  the 
edges  ;  and  (2)  Beating  (or  striking, 
or  percussion)  Reeds,  which  strike  on 
the  edges  ;  in  either  class,  the  elasticity 
of  the  reed  causes  its  return-stroke  after 
it  is  borne  down  by  the  air-current. — 
Double  Reed,  two  beating  reeds  which 
strike  against  each  other  (oboe,  bas- 
soon). (Also  comp.  Fijie  2,  b.  Reed- 
organ,  Regal.) 

Reed-instrument.  One  whose  tone  is 
produced  by  the  vibration  of  a  reed  in 
the  mouthpiece  ;  the  orchestral  instr.s 
of  the  oboe  and  clarinet  groups. 

Reed-organ,  The  precursor  of  the  reed- 
organs  now  in  use  was  the  Regal,  which 
contained  beating  reeds  similar  to  those 
in  the  reed-pipes  of  church-organs.  The 
present  reed-organs  have  free  reeds  ; 
there  are  2  principal  classes  :  (i)  The 
Har moni u m ,\\\Q  bellows  of  which  forces 
compressed  wind  outwards  through  the 
reeds  ;  and  (2)  the  American  organ,  in 
which  an  exhaust  or  suction-bellows 
draws  the  air  in  through  them.  Until  th« 
invention  of  the  Vocation,  a  variety  of 
reed-organ  having  compression-bellows 
like  those  of  the  harmonium,  the  tone  of 
the  second  class  was  generally  superior 
to  that  of  the  first. — The  wind-supply  is 
ordinarily  obtained  by  the  aid  of  a  pair  of 


REED-PIPE— RELISH. 


163 


treadles    operated    by    the    performer. 
There  maybe  one  or  many  sets  of  reeds 
or  vibrators,  each  controlled  by  a  stop 
and  slider-mechanism.     The  timbre  of 
the   various   orchestral    instr.s  is   now 
very    successfully   imitated. — Common 
mechanical   devices  are  the  fercussion- 
siop,  expression-stop  (harmonium),  knee- 
swtll  (Amer.  org.),    tremidani,   double- 
touche,    and    prolongement. — The    first 
reed-organ  was  invented  by  Grenie    in 
1810,  and  named  by  him  orgiie  expressif 
on  account  of  the  crescendo  and  decre- 
jcV7Z(/t;  obtainable  on  it  ;  other  inventors 
constructed  the  ceoline,  ceolodikon,  phys- 
harmoniea,  etc.;  the  Harmonium,   the 
first  instr.  of  the  class  having  several 
stops,  was  patented  in  Paris  by  A.  De- 
bain  in  1843. 
Reed-pipe,  Reed-stop.     See  Pipe  2,  b. 
Reed-work.     See  Slop  {noun)  2. 
Reel.     A  lively  dance,  probably  of  Celtic 
origin,  still  in  vogue  in  Scotland  and 
Ireland,  and  usually  in  4-4  (sometimes 
in  6-4)  time,with  reprises  of  8  measures; 
danced  by  2  couples. 
Refrain'.     A  burden. 
Re'gal.   (Ger.   Regal'.)     I.    An   obsolete 
kind  of  portable  organ  with  one  or  two 
sets  of    reed-pipes   (beating   reeds),    a 
keyboard  for  the  right  hand,  and  a  bel- 
lows worked  by  the  left.     According  to 
the  number  of  pipes  sounded  by  each 
digital,  it  was  called  a  single  or  double 
regal.      The    old    English    name   was 
regall,  or  a  pair  of  regalls.     (See  Har- 
monium.)  A  Bibelregal  (Ger.)  was  one 
folding  up  like  a  large  bible  ;  a  bible- 
organ.— 2.    (Ger.)    An    obsolete   suffix 
distinguishing    reed-stops;    e.g.    Hat'- 
fenregal,      Gei'gcnregal. — 3.      An     old 
species  of  xylophone. 
Re'gel  (Ger.)     A  rule. 
Re'gens  cho'ri    (Lat.)  Choir-master. 
Regier'werk    (Ger.)    In  the  organ,  the 
mechanism  of  the  keys  and  draw-stops, 
taken  collectively. 
Reg'ister.    \.  {Qtx.  Regis' ter.)    A  set  of 
pipes  or  reeds  controlled  by  one  draw- 
stop  ;  in  this   sense   synonymous   with 
stop    (organ-stop). — 2.     A    board    with 
perforations   for  guiding  and  steadying 
the  trackers  of  an  organ-action. — 3.  A 
portion  of   the   range  and  compass  of 
the   voice,    and  of  certain  instr.s ;    (a) 
see   Voice ;  {b)  comp.  Chalumeau. 
Regis'ter  (Ger.)     Register    i    and    3. — 
Regis' terknopf,   stop-knob . . .  Regis'ter- 


stange,  stop-lever. .  .  Regis' terzug,  draw- 
stop    mechanism .  .  .  Stum' me    Register 
(pi.),  mechanical  stops  ;   tonende  Regis- 
ter (pi.),  speaking  stops. 
Registre    (Fr.)      i.     A    stop-knob.— 2. 

Register  3. 
Registration,     i.  The  art  of  effectively 
employing  and  combining  the  various 
stops  of   the  organ. — 2.  The  combina- 
tion or  combinations  of  stops  employed 
for  any  given  composition. 
Registrie'ren    (Ger.)     To  registrate  or 
register  (see  Registration). — Regis  trie' - 
rung,  registration. 
Regie  (Fr.)     Rule. 
Rein  (Ger.)    Perfect  (of  intervals) ;  just, 

true,  correct  (of  pitch  or  intonation). 
Rein'greifen  (Ger.)     Accurate  stopping 
(violin)  ;  accurate  playing  (in  general). 
Rei'tertrompete  (Ger.)  Clarion,  clarina, 
clarino.        (Medieval      trumpet,      with 
straight  tube  about  30  inches  long.) 
Rela'tio   non   harmo'nica    (Lat.)     In- 
harmonic relation. 
Relation.     (Ger.     Verwand'schaft;    Fr. 
relation;    It.   relazio'ne.)     The  degree 
of   affinity  between  keys,  chords,  and 
tones.     The  simplest  explanation  of  re- 
lationship is  that  promulgated   by  the 
neo-harmonists  (comp.    Phone,   §4). — 
Also     Relationship,     Tone-relationship 
(Ger.  Ton' verwandschaft). 
Relative    key.      (Ger.    Parallel' tonart; 
Fr.  7node  relatif;  It.  tono  relati'vo.)     A 
minor  key  is  relative  to  that  major  key, 
the  tonic  of  which  lies  a  minor  third 
above  its  own  ;  a  major  key  is  relative 
to  that  minor  key,  the  tonic  of  which 
lies  a  minor  third  below  its  own.     (N. 
B.    Relative  is  sometimes  used  for  re- 
lated, in  qualifying  keys  and  chords.) 
Religiosamen'te,  Religio'so  (It.)    In 
a  style  expressive  of  religious  or  devo- 
tional feeling. 
Relish.     One  of  the  ' '  shaked  graces ' '  of 
the  old  harpsichord-music  ;  in  2  forms, 
namely,  the  Single  Relish  : 

^  ^  played ; 


164 


REMOTE    KEY— RESPONSORY. 


Remote  key.  An  unrelated  key.  (See 
Jxelation.) 

Remo'tus  (Lat.)  Remote,  far  apart ;  as 
harmunia  7-einota,  open  harmony. 

Remplissage  (Fr.,  "filling").  The 
parties  de  r.  are  the  inner  parts. — The 
word  r.  is  also  used  as  a  term  of  re- 
proach for  superfluous  or  cumbrous 
parts  in  the  works  of  novices — "pad- 
ding "  ;  also,  for  non-concerted  parts. 

Rendering.  Artistic  interpretation  or 
reproduction.  (Preferable  to  the  term 
"  rendition  ".) 

Rentr6e  (Fr.)  Reentrance  of  a  part  or 
theme  after  a  rest  or  pause. 

Renverser  (Fr.)  To  invert  ;  renverst^; 
inverted  ;  renversement,  inversion. 

Renvoi  (Fr.)  The  sign  (e.  g.  •.^.)  direct- 
ing the  performer  to  return  to  and  re- 
peat from  a  similar  sign. 

Repeat.  (Ger.  Wiederho'lttngszeichcn; 
Fr.  bAton  de  reprise;  It.  re' plica.)    The 


sign 

the  first  signifying  that  the  division  be- 
tween the  dotted  double-bars  is  to  be 
repeated  ;  the  second  and  third,  that 
the  preceding  and  also  the  following 
division  is  to  be  repeated ;  the  dots 
always  being  on  the  same  side  of  the 
bar  as  the  division  to  be  repeated. — 
Comp.  Da  Capo,  and  Dal  Segno. 

Repeating   action.     See  Repetition  2. 

Repercussion.  (Lat.  repercus'sio.)  i. 
The  repetition  of  a  tone  or  chord. — 2. 
The  regular  reentrance,  in  a  fugue,  of 
the  subject  and  answer  after  the  epi- 
sodes immediately  following  the  expo- 
sition.— 3.  In  Gregorian  music,  the 
dominant  of  the  mode,  as  being  the 
tone  most  reiterated. 

Repetie'ren  (Ger.)  i.  To  break  (see 
Break  3) . .  .  Ei?te  repetie'rende  Stint' me, 
a  mixture-stop  with  a  break. — 2.  To  re- 
peat. 

Repetition,  i.  The  very  rapid  reiter- 
ation of  a  tone  or  chord,  producing 
almost  the  effect  of  a  sustained  sound. 
— 2.  Repeating  action,  one  in  which 
the  rebound  of  the  hammer  admits  of 
the  instant  restriking  of  the  key  and 
repetition  of  the  tone  (pfte.) 

R6p6tition  (Fr.)     Repetition  ;  rehearsal. 

Repetition'  (Ger.)  Repetition  i  and  2  ; 
also,  a  Break  3 . . .  Repetitions' mechani k , 
repeating  action  (pfte.) 


Repeti'tor  (Ger.)  The  trainer  or  con- 
ductor of  an  opera-chorus.  (Fr.  chef  du 
chant. ) 

Repetizio'ne  (It.)     Repetition. 

Re'plica  (It.)  A  x^^^dX. .  .Replica' to, 
(a)  repeated  ;  (i)  doubled. 

Rep'licate.  A  tone  one  or  more  octaves 
above  or  below  a  given  tone. 

Replik'  (Ger.)  A  complementary  inter- 
val. 

R^plique  (Fr.)  i.  A  replicate  (unused). 
— 2.  Answer  (usually  reponse). — 3.  A 
complementary  interval. — 4.  A  cue. 

Reply.     Answer. 

R^pons  (Fr.)     A  response. 

Reponse  (Fr.)     An  answer. 

Report.     Same  as  Answer. 

Repos  (Fr.)  The  end  of  a  phrase, 
marked  by  a  full  cadence. 

Reprise  (Fr.)  i.  A  repeat. — 2.  The  re- 
vival of  a  work. — 3.  Break  3. — 4.  The 
repetition  of  the  first  theme,  in  a  short 
movement,  after  an  episode. — 5.  Same 
as  Kentrc'e. 

Re'quiem.  The  first  word  in  the  Mass 
for  the  Dead,  which  begins  with  the 
antiphon  Requiem  (uternam  dona  eis, 
dotnine;  hence,  the  title  of  the  musical 
setting  of  that  Mass.  Its  divisions  are 
as  follows :  (i)  Requiem,  Kyrie ;  (2) 
Dies  irae,  Requiem  ;  (3)  Domine  Jesu 
Christe  ;  (4)  Sanctus,  Benedictus  ;  (5) 
Agnus  Dei,  Lux  aeterna. 

Resin.     See  Rosin. 

Resolution.  (Ger.  Anflosung;  Fr. 
7\'solutio?i;  It.  risoltizio'ne.)  The  pro- 
gression of  a  dissonance,  whether  a 
simple  interval  or  a  chord,  to  a  conso- 
nance. 

Resoluzio'ne,   con  (It.)    See  Risoluto. 

Res'onance-box.  A  hollow  resonant 
body,  like  that  of  a  violin  or  zither. 

Resonanz'boden  (Ger.)  Soundboard  or 
\)€i\y...Resonanz' hasten,  resonance-box. 
.  .  Rcsonanz' saite,  sympathetic  string. 

Respi'ro  (It.)     A  i6th-rest. 

Respond.     See  Responsory  3. 

Response.  (Lat.  respon'stcm.)  i.  The 
musical  reply,  by  the  choir  or  congre- 
gation, to  what  is  said  or  sung  by  the 
priest  or  officiant,  either  in  the  Anglican 
or  R.  C,  Church. — 2.  See  Responsory. 
— 3.  Same  as  Atisiuer. 

Respon'sory.  (Lat.  response' rium^  i. 
That  psalm,  or  part  of  one,  sung  be- 


RESSORT— RHYTHM. 


i6s 


tween  the  missal  lessons. — 2.  The  Grad- 
ual.— 3.  A  Respond  ;  i.  e.  a  part  of  a 
psalm  (formerly  an  entire  psalm)  sung 
between  the  lessons  at  the  canonical 
hours. 
Ressort  (Fr.)     Ba^s-bar. 

I.  2.       \  3. 

Rests 
Time-value  :l        r^ 


Rest.  (Ger.  Pau'sc;  Fr.  silence;  It. 
pa'tisa.)  (i)  A  pause  or  interval  of 
silence  between  two  tones  ;  hence  (2) 
a  sign  indicating  such  a  pause. — The 
rests  equivalent  in  time-value  to  the 
several  notes  are  as  follows  : 


FRENCH. 

Pause. 

Demi-pause. 

Soupir. 

Demi-soupir. 

Quart  de  soupir. 
Zweiunddreissigstelp.  Demi-quart  de  s. 
Vierundsechzigstelp.     Seizieme  de  s. 


ENGLISH.  GERMAN. 

1.  Whole  rest.  Taktpause.    [Pause, 

2.  Half-rest.  Halbe  (or  Zweitel-) 

3.  Quarter-rest.  Viertelpause. 

4.  Eighth-rest.  Achtelpause. 

5.  i6th-rest.  Sechzehntelpause 

6.  32nd-rest. 

7.  64th-rest. 


ITALIAN. 

Pausa  della  semibreve. 
minima. 


semiminlma  {or  Quarto). 
croma  {or  Mezzo-quarto), 
semicroma  {or  Respire), 
biscroma. 
semibiscroma. 


. .  .Breve-  - j — '-  equal     in    time-value 

rest,  a  rest  rz^^^  to   I  breve  ( JS!^  ),  or 
2  semibreves   or   whole   notes  (-^~>p)- 


.  .Large-rest,  Long-rest,  see  N^otation, 
§3,  P-  \'h^.  .  .Measure-rest,  a  pause 
throughout  a  measure.  The  whole  rest 
is  often  used  as  a  measure-rest,  regard- 
less of  the  measure-value  expressed  in 
the  time-signature  ;  the  2-measure  rest 
is  then  writ-  j,  '-  the  3-measure 
ten      thus :  '    rest     thus: 

M  —  _-     the  4-measure        ■         etc. 
—'    But, 


rest  thus: 
for  rests  longer  than  one  measure,  any- 
one of  the  following  conventional  signs 
is  usually  employed,  with  a  numeral  above 
to  show  the  number  of  measures  rested: 

38  46 

etc. 


Restric'tio  (Lat.)     Stretto  (of  a  fugue). 

Resultant  tones.     See  Acoustics,  §3. 

Retard.  To  susv>end. .  .Jietarded  fro- 
gression,  same  as  Retardation  2. 

Retardation.  A  holding-back,  decreas- 
ing in  speed. — 2.  A  suspension  resolving 
upward  ;  opp.  to  Anticipation. 

Retraite  (Fr.)    The  tattoo. 

Retrograde.  (Lat.  retrogra' dus ;  It. 
retrogra' do).     See  Imitation. 

Ret'to  (It.)    Direct,  straight.    See  Moto. 


(I)  El 
Vito; 


Reveille  (Engl,  and  Ger.;  from  Fr.  r/- 

veil.)     A  military  signal  for  rising. 
Reverie.     An  instrumental  comp.  of  a 

dreamy  cast,  without  characteristic  form. 
Reversion.     See  Imitation,   retrograde. 

.  .Reverse   motion,    same   as  Contrary 

motion. 

Rhapsodie  (Fr.)  In  ancient  Greece, 
rhapsodies  were  fragments  from  the 
great  epics  sung  by  the  rhapsodes  to 
the  cithara.  In  modern  music,  the 
rhapsodie  is  generally  an  instrumental 
fantasia  on  folk-songs  or  motives  taken 
from  primitive  national  music  ;  an  ex- 
ception is  Brahms' Op.  53.  (^.Wso  Rhap- 
sody.) 

Rhythm.  (Ger.  Rhyth'mus;  Fr.  rythme; 
It.  rit'mol)  I.  The  measured  move- 
ment of  similar  tone-groups  ;  i.  e. ,  the 
effect  produced  by  the  systematic  group- 
ing of  tones  with  reference  to  regularity 
both  in  their  accentuation  and  in  their 
succession  as  equal  or  unequal  in  time- 
value. — A  Rhythm  is,  therefore,  a  tone- 
group  serving  as  a  pattern  for  succeed- 
ing groups  identical  with  it  as  regards 
the  accentuation  and  duration  of  the 
tones.  The  rhythm,  being  thus  a  thing 
apart  from  tonal  melody  or  harmony, 
is  reducible  to  a  formula  of  notes  with- 
out pitch,  merely  representing  an  orderly 
series  of  pulsations  ;  take,  for  instance, 
the  castanet-rhythm  of  3  Spanish  na- 
tional dances : 


x66 


RIBS— RIPRESA. 


,^_.^1^^]_J^- 


(2)  Fandango: 


(3)  Bolero: 


The  vertical  bars  divide  the  7neasnrcs; 
the  slurs  connect  notes  forming  one 
rhythmic  group  or  rhythm.  The  differ- 
ence between  a  measure  and  a  rhythm 
is  apparent ;  the  former  is  the  sum  of 
the  time-values  of  notes  (or  rests)  be- 
tween 2  bars,  whatever  be  their  arrange- 
ment ;  the  latter  jnay  be  contained  (i) 
within  a  measure,  but  at  (2)  embraces 
2  measures,  and  at  (3)  begins  before  the 
bar. —  Time,  on  the  other  hand,  is  the 
division  of  each  measure  into  equal 
fractional  parts  of  a  whole  note,  corre- 
sponding (at  least  in  the  simple  times) 
to  the  same  number  of  regular  beats  to 
a  measure  ;  with  vi'hich  regular  beats 
the  pulsations  of  the  rhythm  are  by  no 
means  required  to  coincide. — It  must 
be  added,  however,  that  the  above  defi- 
nitions are  not  universally  accepted, 
and  that  great  confusion  prevails  in  this 
department  of  English  mus.  termi- 
nology, as  in  others  ;  they  are  given 
simply  as  valid  for  this  Dictionary. — 2. 
Rhythm,  in  a  wide  sense,  is  the  accent- 
uation marking  and  defining  broader 
mus.  divisions  in  the  flow  and  sweep  of 
a  composition  by  special  emphasis  at  the 
entrance  or  culminating  points  of  mo- 
tives, themes, phrases, passages,  sections, 
etc.     (Comp.  Accent  2.) 

Ribs.  (Ger.  Zar'gen  ;  Fr.  t'clisses  ;  It. 
fa'scie.)  The  curved  sides  of  the  violin 
and  similar  instr.s,  connecting  belly 
and  back. 

Ribattu'ta  (It.)  A  device  for  begin- 
ning a  trill.  (Comp.  Trill.) 

Ribe'ba,  Ribe'ca  (It.)     Rebec. 

Ricerca're,  Ricerca'ta(It.)  i.  Original- 
ly vocal,  and  later  also  instrumental, 
compositions  of  the  l6th  and  17th  cen- 
turies, in  fugal  form  more  or  less  high- 
ly developed,  usually  built  up  as  a  sort 
of  fantasia  on  original  motives. — 2.  See 
Fugue. 

Riddle-canon.    See  Canon,  enigmatical. 

Ridot'to  (It.)  I.  Reduced  (see  iv'/(/«//-t). 
- — 2,  A  reduction. 

Rigadoon'.  (Fr.  rigaudon.)  An  ani- 
mated, often  grotesque  dance  of  French 


■* — r— •^^53» -0 — r-m m-mm-»-» — ^-m^H^-m * — | — 


origin,  generally  in  4-4  time  (sometimes 
2-2,  rarely  6-4)  with  an  auftakt  of  a 
quarter-note ;  it  consists  of  3  or  4  reprises, 
the  third  falling  in  as  if  by  chance  at  a 
lower  pitch  and  frequently  without  a 
regular  close,  to  enhance  the  contrast 
with  the  succeeding  division. 

Ri'go  (It.)  The  staff.  (Also  banda, 
portata,  sistema,  tirata,  or  verto.) 

Rigo're  (It.)  Rigor,  strictness ...  Ct^w 
r.,  al  r.  di  tempo,  in  strict  time.  (Also 
rigoro'so.) 

Rilascian'do,  Rilascian'te  (It.)  Ral- 
lentando. 

Rimetten'do  (It.)  "Resuming"  the 
former  tempo  (after  accel.  or  rail.). 

Rinforza're  (It.)  To  reinforce  (by  ad- 
ditional stress);  to  emphasize. .  .A' /«- 
forzamento,  reinforcement ;  rinfor- 
zan'do  or  rinforza'to,  with  special 
emphasis  ;  indicates  a  sudden  increase 
in  loudness,  either  for  a  tone  or  chord, 
or  throughout  a  phrase  or  short  passage 
(abbr.  rinf.,  rfz.,  rf.);  rinfor'zo,  re- 
inforcement ;  per  riitforzo,  by  way  of 
reinforcement. 

Ripercussio'ne  (It.)     Repercussion. 

Ripetizio'ne   (It.)     Repetition. 

Ripie'nist.  {It.ripieni'sta.)  A  musician 
playing  a  ripieno  part. 

Ripieno  (It.  ;  lit.  "  full,  filling  up  ;  sup- 
plementary.") I.  A  ripieno  part  in  in- 
strumental music  is  one  reinforcing  the 
leading  orchestral  parts  by  doubling 
them  or  by  filling  in  the  harmony,  and 
is  thus  opposed  to  solo,  cancer tante,  and 
obbligato ;  such  parts  are  termed 
ripie'ni  (noun). — 2.  In  scores,  ripieno'is 
a  direction  calling  for  the  entrance  of  the 
full  string-band  (or,  in  military  music, 
the  clarinets,  oboes,  etc.),  being  equiva- 
lent to  Tutti.  (Also  V.  Appenui.x.) 

Ripien'stimmen  (Ger.)     Ripieni. 

Ripiglia're  (It.)  To  resume;  ripi- 
glian'do,  resuming. 

Ripren'dere  (It.)  To  resume  ;  ripren- 
den'do,  resuming. 

Ripre'sa  (It.)  A  reprise  or  repeat ;  also, 
the  sign  S^. 


RISE— ROMANCE. 


167 


Rise.     Same  as  Plain-beat. 

Risenti'to  (It.)  Energetic,  vigorous  ; 
expressive. 

Risoluzio'ne  (It.)  i.  Energy,  decision. 
— 2.  -A.  resolution. .  .  A' /j'f/«'/fc',  energetic, 
decided,  strongly  marked. .  .AVW;//(Z- 
tncn'/e,  w  ith  energy,  decision. 

Risonan'za,  Risuonan'za  (It.)  Reso- 
nance. 

Rispo'sta  (It.)  Answer  (in  a  fugue) ;  con- 
sequent (in  a  canon). 

Riss  in  der  Stimme  (Ger.,  "crack  in 
the  voice".)  A  break  (when  the  pas- 
sage from  one  register  to  another  cannot 
be  smoothly  effected). 

Ristret'to  (It.)     A  stretto. 

Risveglia'to  (It.)     Lively,  animated. 

Ritardan'do  (It.)  Growing  slower  and 
slower  (abbr.  ritard.,  rit.) — Also  ritar- 
da'to.  .  .Ritat'do,  retardation. 

Ritenen'do,  Ritenen'te  (It.)  Same  as 
Rallentando. 

Ritenu'to  (It.)  Properly,  held  back,  in 
slower  tempo  ;  but  often  used  incor- 
rectly for  rallentando. — Abbr.  riten., 
rit.     (See  Tempo-marks.^ 

Rit'mo  (It.)  Rhythm. .  .R.  di  due  (tre) 
battu'te  [=  2-measure  (3-measure) 
rhythm],  a  phrase  indicating  that  not 
one  measure,  but  2  (3)  measures,  are  to 
be  considered  as  forming  a  great  mea- 
sure or  metrical  unit.  [An  identifica- 
tion of  rhythm  with  metre ;  comp. 
Rhythm  2.] 

Ritornel'lo  (It.)  i.  In  accompanied 
vocal  works,  such  as  songs,  arias,  ora- 
torios, or  operas,  an  instrumental  pre- 
lude, interlude,  or  postlude  (refrain)  ; 
or,  a  tiitti  in  a  concert-piece. — Also 
ritornelle  (Fr.  ritournelle). — 2.  A  re- 
peat.— 3.  The  burden  of  a  song. 

River'so  (It.)  i.  Reversed. — 2.  Retro- 
grade.    (Comp.  Rovescio.) 

Rivolgimen'to  (It.)  Transposition  of 
the  parts  in  invertible  counterpoint. 

Rivol'to  (It.)  Inversion. .  .Rivolta'to, 
inverted. 

Robu'sto  (It.)  Firm  and  bold ...  y?o3?<- 
stainen'te,  firmly  and  boldly. 

Rock-harmonicon.     An    instr.    consist- 
ing of  a  series  of  rock-crystals,  gradu- 
ated to  the  tones  of  the  scale,  and  play- 
ed with  hammers. 
Roger  de  Coverly.     See  Sir  Roger. 
Rohr,  Rohr'blatt  (Ger.)     i.  Reed  ;  the 


latter  is  applied  specifically  to  the  reeds 
of  the  oboe  and  bassoon  {dop'peltes 
Rohrblatt),  and  of  the  clarinet  (ein'- 
f aches  Rohrblatt).  Zung'e  is  the  usual 
term  for  Reed. . .  Rohr'Jlote  (Fr.  fliUe  h 
cherninee ;  Engl.  reed-Jlttte),  a  half- 
covered  flue-stop  in  the  organ,  with  a 
hole  or  chimney  in  the  cover,  and  of  8, 
16,  or  4-foot  pitch  ;  the  tone  is  brighter 
than  when  the  pipes  are  wholly  cover- 
ed ;  the  lower  half  of  the  rank,  how- 
ever, is  wholly  covered.  Of  2  or  i-foot 
pitch,  it  is  usually  called  Rohr' schelle. 
The  Dop'pelrohrjidte  is  one  with  double 
mouth,  the  Roh/ qiiinte  a  reed-flute  of 
27^-foot  pitch.  The  English  clarionet- 
Jhite  vcsemhltsthe Rohrqtiinte .  .  .Rohr- 
werk,  reed-work. — 2.  Tube  (of  awind- 
instr.)  [only  Rohr\. 

Roll.  I.  (Ger.  Wir'bel ;Yx.rouleme7it ; 
It.  rollo.)  A  tremolo  or  trill  on  the 
drum,  produced  {a)  on  the  kettledrum 
by  rapid  alternate  single  strokes  ;  {b)  on 
the  side-drum,  by  striking  alternately  2 
strokes  with  the  left  hand  and  2  with 
the  right.  fj-  or  ...^.^  or  0  or  J^ 
The  sign  ^^ 


^■-  \'\j..^-m 


in   nota 

tion    is  :  5p" 

. .  Lotig  roll,  the  prolonged  and  reiterated 
drum-signal  to  troops,  either  for  the 
attack,  or  the  rally. — 2.  la  organ-play- 
ing, a  rapid  arpeggio. — 3.  On  the  tam- 
bourine, the  rapid  and  reiterated  hither- 
and  thither-stroke  with  the  knuckles. 

RolTe  (Ger.)  A  succession  of  rapid  un- 
dulatory  (ascending  and  descending) 
runs  or  passages  consisting  of  repeti- 
tions of  the  same  figure. 

RolTo  (It.)     Roll  I. 

Roller.  I.  The  cylinder  or  barrel  of  a 
music-box,  or  of  a  carillon.  —  2.  A 
roller-board  ;  a  wooden  bar  resting  on 
gudgeons  and  provided  with  2  arms, 
one  pulled  by  a  tracker  from  a  key, 
which  makes  the  other  draw  a  tracker 
opening  a  valve  (organ). .  .Roller-board 
action,  the  mechanism  belonging  to  the 
roller-boards  of  an  organ. 

Romance.  (It.  roman'za;  Ger.  Ro- 
man'ze.)  Originally,  a  ballad,  or  popu- 
lar tale  in  verse,  in  the  Romance  dia- 
lect ;  the  name,  being  later  transferred 
to  stories  of  love  and  knightly  adven- 
ture, which  were  often  set  to  music, 
has  been  employed  in  modern  times  as 
the  title  of  epico-lyrical  songs,  and,  by 
further  transference,    of   short  instru- 


I6S 


ROMANESCA— ROUNDEL. 


mental  pieces  of  a  sentimental  or  ro- 
mantic cast,  and  without  definite  form 
(see  Ballade). — The  French  romance  is 
a  simple  love-ditty  expressive  of  tender 
melancholy ;  Koniaiices  sans  Paroles 
are  "  Songs  without  Words." 

Romane'sca  (It.)  The  Italian  form  of 
the  Cialliard,  so  called  because  coming 
from  Rome. 

Romantic.  The  opposite  of  classic 
^which  denotes  an  accepted  and  com- 
prehended type,  in  wliich  form  and 
spirit  blend  to  form  an  harmonious 
whole).  Romantic  was  an  epithet  orig- 
inally derived  from  Romance  poems  of 
the  early  middle  ages,  and  applied  to 
very  various  products  of  a  lively, 
gloomy,  or  heated  imagination  down  to 
the  German  revival  of  Romantic  litera- 
ture during  the  i8th  century.  All  late 
romantic  poems  having  something  of 
exalted  mysticism,  visionary  enthusi- 
asm, or  strong  subjective  and  senti- 
mental emotion  of  an  uncommon  type, 
the  term  romantic  was  naturally  trans- 
ferred to  composers  and  their  works 
that  depart  from  the  beaten  track,  and 
aim  at  expressing  emotion  in  a  style 
and  with  means  differing  from  those 
employed  by  their  predecessors.  Thus, 
old  forms  are  broadened,  new  forms 
and  types  created,  and  also  many  ec- 
centric and  ill-conceived  productions 
brought  to  light.  Hence  it  comes,  too, 
that  the  Romanticists  of  to-day  are  the 
Classicists  of  to-morrow;  that  Haydn 
and  Mozart,  —  Beethoven,  —  Weber, 
Chopin,  and  Schumann, — Berlioz, 
Liszt,  and  Wagner, — are  all  in  turn 
decried,  listened  to,  tolerated,  admired, 
worshipped, — and  imitated.  And  the 
imitators  of  original  genius  are  simply 
post-classicists,  who,  in  full  accord  with 
the  form  and  mode  of  expression  em- 
ployed by  their  models,  seek  to  elabo- 
rate and  finish  both  in  a  manner  suited 
to  their  own  needs.  It  might  be  said, 
that  any  great  original  composer  re- 
mains a  romanticist  until  he  is  thorough- 
ly understood.  Berlioz,  Liszt,  Wagner 
and  their  following  are  generally  class- 
ed as  the  neo-romantic  school. 

Roma'nusbuchstaben  (Ger.)  The  lit- 
ler.e  signiJicativcE. 

Ronde     (Fr.)     A  whole  note. 

Ron'do.  (It.  rondo'  [dimin.  rondincl'lo, 
rondinet'to,  rondi'no,  rondolet' to\  ;  Fr. 
rondeau^  A  form  of  instrumental  com- 
position, the  characteristic    feature    of 


which,  a  return  of  the  leading  theme,  is 

derivable  from  the   construction  of  the 

old  French  poetical  form  of   the  ron- 

dcait.     \\  hile  in  the  earlier  rondos  the 

digressions  from  the   1st  theme  were  of 

an  irregular  and  desultory  character,  the 

episodes  of  the  modern    form  assume 

the    shape    of   well-defined  contrasting 

themes,  somewhat  in  the  following  order: 

I-II  (dominant)-I-III-I-II  (tonic)-Co. 

da.     (See  Form.) 

Root.     The  lowest  note  of  a  chord  in  the 

r      .  ..I  —^ — - —  here    ^'    is    the 

fundamental 

position;  e.g. 


—  root  of  the  triad 
~g'-l>'-d\ 

Rosa'lia  (It.)  A  melodic  form  consist- 
ing of  the  repetition  of  a  phrase  or 
figure  several  times,  each  time  trans- 
posed one  degree  higher,  or  simply  (as 
more  loosely  interpreted)  on  various  de- 
grees. (Ger.  Rosa' lie  ;  also  Schu'ster- 
Jieck,  and  Vet'ter  Mi'chel.) 

Rose.  (Ger.  Ro'se;  Fr.  rosette;  It.  ro'sa^ 
The  ornamental  pattern  bordering  the 
sound-hole  in  the  belly  of  the  guitar, 
mandolin,  etc.  ;  often  used  not  merely 
as  an  ornament,  but  as  a  trade-mark. 

Rosin.  (Ger.  Kolopkon' ;Yx.  colophane  ; 
It.  colofo'nia.')  The  residue  of  turpen- 
tine, after  distillation  to  obtain  the  oil 
of  turpentine.  That  used  for  violin- 
bows  is  the  refined  article. 

Ro'ta.  I.  A  round,  rondeau,  or  piece  of 
similar  construction. — 2.  (Also  Rote, 
Rotta,  Rotte.)     See  Crowd. 

Roton'do  (It.)     Round,  full  (of  a  tone). 

Roulade  (Fr.)  A  grace  consisting  of  a 
run  or  arpeggio  from  one  principal  tone 
to  another ;  a  vocal  or  instrumental 
flourish. 

Roulement   (Fr.)     Roll. 

Round.  I.  A  species  of  vocal  rhythmical 
canon  at  the  unison,  differing  from  the 
regular  canon  in  having  no  coda,  thus 
being  infinite  ;  a  favorite  style  of  com- 
position in  England,  from  early  times 
(the  celebrated  round  "  Sumer  is  i-cum- 
en  in"  is  supposed  to  date  from  the 
middle  of  the  13th  century)  down  to  the 
present  day.  It  differs  from  the  catch 
(with  which  it  was  formerly  identical) 
in  eschewing  the  comical  effects  of  the 
latter. —  The  round  proper  sometimes 
has  an  harmonic  support  or  accom- 
paniment called  the  pes. — 2.  A  circle- 
dance,  or  round  dance. 

Roundel.  A  dance  in  which  the  partici< 
pants  form  a  circle  or  ring. 


ROUNDELAY— SAITE. 


169 


Roundelay.  A  lay  or  song  containinpf 
some  continued  reiteration  or  refrain. — 
Also,  a  roundel. 

(It.)       I.     Reversion, 
retrotrrade  motion. — 


Rovesciamen'to 

contrary  motion 
2.  Inversion. 

Rove'scio  {It.,  " 


reverse,  wrong  side".) 
Al  r.  signifies :  {a)  Imitation  by  con- 
trary motion  ;  {b)  a  movement  so  con- 
structed that  it  may  be  performed  back- 
wards (cancrizans). 
ORuba'to  (It.,  "robbed'".)  Used  in  the 
phrase  ift/ipo  rubato  as  a  direction,  in 
passages  calling  for  the  display  of  in- 
tense or  passionate  feeling,  that  the 
performer  should  modify  the  strict 
rhythmical  flow  of  the  movement  by 
dwelling  on,  and  thus  (often  almost  in- 
sensibly) prolonging,  prominent  mel- 
ody-notes or  chords,  this  in  turn  re- 
quiring an  equivalent  acceleration  of 
less  prominent  tones,  which  are  thus 
robbed  of  a  slight  portion  of  their  time- 
value. 

Rub^be  (Fr.)     Rebec. 

Ruck'fall  (Ger.)     A  backfall. 

Riick'gang  (Ger.)  Return  (i.  e.  a  tran- 
sition from  one  theme  to  the  repetition 
of  a  preceding  theme). 

Riick'positiv  (Ger.)     See  Positiv. 

Ruck'ung  (Ger.,  "  a  shifting".)  I.  Syn- 
copation.— 2.  Enharmonic  change  {en- 
harinoiiische  Riic/curig). 

Riick'weiser  (Ger.)    The  sign  ..S^.. 

Ruh'ezeichen  (Ger.)     See  Pause  (Ger.) 

Ruh'ig  (Ger.)  Quiet,  calm,  tranquil, 
(.Vlso  Cifvei-b.) 

Riih'rung  (Ger.)     Emotion. 

Rule  of  the  octave.     See  Octave. 

RuUan'te  (It.)  Rolling  ;  tambti'ro  rid- 
lante,  a  side-drum. 

Run.  I  {noun).  A  rapid  scale-passage  ; 
in  vocal  music,  usually  applied  to  such 
a  passage  sung  to  one  syllable. — 2 
{verb).  The  wind  in  the  windchest  (or- 
gan) is  said  to  run  when  it  leaks  into  a 
groove  ;  this  running  causes  a  more  or 
less  distinct  sounding  of  the  pipes  on 
that  groove,  and  is  a  serious  defect. 

Rund'gesang  (Ger.)  A  solo  song,  with 
refrain  for  chorus. 

Russ'pfeife  (Ger.  ;  Dutch  7\u!spi/'e.) 
See  Rauschqjiinie. 

•   Ru'stico  (It.)     Rustic,  pastoral, 


Rutsch'er  (Ger.)  Old  Ger.  name  for 
the  Galop. 

Ru'vido  (It.)  \<.o\X'^.  .  .Ruvidanien'te, 
roughly,  coarsely. 

Rythme  (Fr.)     Rhythm. 

Rythm6  (Fr.)  In  rhythm,  measured ; 
bicn  r.  (It.  ben  ritmato),  with  due 
rhythmic  emphasis;  or(of  a  composition) 
well-balanced  and  effective  in  rhythmical 
construction. 

s. 

S.  Abbr.  of  Segno,  in  the  phrases  al 
Segno,  dal  Segno  ;  Senza,  in  the  phrases 
senza  Pedale,  senza  Sordini ;  of  Sini- 
stra; Soh;  Sordini  ;  and  of  Subito,  in 
the  phrase  volti  subito. 

Sabot  (Fr.)  i.  In  the  double-action 
harp,  one  of  the  movable  disks,  each 
provided  with  2  projecting  studs,  which 
make  a  partial  revolution  on  depressing 
a  pedal,  the  studs  engaging  and  thus 
shortening  the  string. — 2.  An  inferior 
fiddle. 

Saccade  (Fr.)  In  violin-playing,  a  firm 
stroke  of  the  bow  by  which  2  or  more 
strings  are  so  pressed  down  as  to  sound 
together. 

Sackbut.  I.  Earlier  form  of  the  trom- 
bone.— 2.  In  the  Bible  (author,  vers.), 
the  translation  of  sabbeka,  which  is 
supposed  to  have  been  a  harp-like  instr. 
(Also  Sacbut.) 

Sack'pfeife  (Ger.)     Bagpipe. 

Sacque-boute  (Fr.)     See  Saquebute. 

Sacred  music.  (Ger.  Kir'chenmusik; 
Fr.  viusique  d'/glise;  It.  mu'sica  reli- 
gio'sa.)  Church-music,  or  music  for 
devotional  purposes  ;  opp.  to  secular 
music. 

Sa'crist.  A  person  retained  in  a  cathe- 
dral, whose  office  it  is  to  copy  out  the 
music  for  the  use  of  the  choir,  and  take 
care  of  the  books.     [Bushy.] 

Sagbut.     Same  as  Sackbut. 

Sai'te  (Ger.)  A  string. . .  Sai' tenchor ,  a 
unison  of  strings  (group  of  2  or  3  tuned 
in  unison).  .  .  Sai'tenfessel,  usually  Sai'- 
ienhalter,  tailpiece. . .  Sai'tenharmonika, 
a  keyboard  stringed  instr.  inv.  by  J.  H. 
Stein  in  17S8,  with  diminuendo  attach- 
ment. .  .  Sai'teninstruniente,  stringed 
instr.s.  . .  Sai' tenorgel{'" strmg-OTgdiXi  "), 
a  keyboard  stringed  instr.  inv.  by  Carl 
Gi'imbel  of  KrofTdorf,  near  Giessen, 
Prussia,  in  1890.  The  sustained  tone 
(organ-tone)  is  obtained    by  adding  to 


X70 


SALICET— SARRUSOPHONE. 


each  unison  a  fourth  string,  which  is 
set  in  continuous  vibration  by  the  rapid 
blows  of  an  harmonium-reed  furnished 
with  a  leathern  head  ;  the  action  of 
these  reeds  (whose  vibration-numbers 
coincide  witli  those  of  the  correspond- 
ing unisons  struck  bythe  ordinary  ham- 
mers) is  controlled  by  wind,  supplied 
by  bellows  tilled  by  a  pair  of  treadles 
worked  by  the  player. — By  means  of 
various  stops  and  combinations,  the  S. 
can  be  played  (i)  as  a  pfte. ;  (2)  as  an 
organ  ;  (3)  with  pfte. -tone  and  organ- 
tone  combined  ;  (4)  the  bass  side  as 
an  organ,  and  the  treble  side  as  a 
pfte.,  or  vice  versa  ;  (5)  with  crescendo 
and  decresccndo  effects,  and  all  imagin- 
able gradations  of  tone-power. — -The 
combined  timbre  partakes  of  the  quali- 
ties of  the  string-band,  organ,  and  pfte. 
— Built  in  2  styles,  upright  and  grand. 

Sal'icet,  Sali'cional.  An  organ-stop 
having  open  flue-pipes  of  metal,  gener- 
ally of  S-foot  pitch,  sometimes  of  4,  2, 
and  (on  the  pedal)  16-foot  pitch,  with  a 
mellow,  reedy  tone  like  the  Dulciana. 
(Also  Salcional.) 

Salmi  (Fr.)     Quodlibet. 

Sal'mo  (It.)     Psalm. 

Salon'fliigel  (Ger.)  Parlor  grand  (pfte.) 
.  .  Salon  stuck,  a  piece  of  salon-(j^2iX- 
lor-)  music. 

Saltarel'la,  Saltarel'lo  (It.)  i.  A  jack. 
— 2.  In  many  dance-tunes  of  the  l6th 
century,  the  second  part  (Ger.  Hop'pel- 
ianz,  Nach'lanz;  Lat.  propo'/ tio ;  Fr. 
tourdion),  which  was  in  triple  time,  the 
first  being  in  duple  time  ;  the  skipping 
step  was  marked  in  the  rhythm: 


-::-j^- 


etc. — 3.  A  Roman  (or  Venetian  [?]) 
dance  in  3-4  or  6-8  time. — 4.  In  sal- 
tar  ello,  a  term  formerly  applied  to  a 
canto  fermo  accompanied  by  a  counter- 
point in  sextuplets. 

Salta'to  (It.)  In  violin-technic,  a  variety 
of  the  "  springing  bow  ". 

SaIteret'to(It.)     The  rhythmical  figure 


Salte'rio,  Salte'ro  (It.)  i.  Psaltery.— 
2.  Dulcimer  {saltcrio  ted/scd). 

Sal'tO  (It.)  A  skip,  leap...Z?i  salto, 
(progressing)  by  skips  or  leaps. 

Salva're  (It.)  To  resolve  ^salvar'  una 
dissonan'za). 


Salvation  (Fr.)  Resolution  (of  a  dis- 
sonance). 

Sal've  Regi'na  (Lat.,  "  Ilail !  Queen  [of 
heaven] '  .)  One  of  the  antiphons  to 
the  "Blessed  Virgin  Mary",  sung,  in 
the  R.C.  service,  after  lauds  or  complin 
from  Trinity  Sunday  to  Advent. 

Sambu'ca.  One  of  the  most  ambiguous 
instrument-names  of  the  middle  ages, 
usually  employed  in  the  sense  of  the 
Greek  cafipvuf/  (Lat.  sambuca)  for  a 
kind  of  small  psaltery  {Spitz' harfe), 
but  also  occurring  (as  if  derived  from 
the  Lat.  sambu'cus,  alder)  for  a  species 
of  pipe  ;  and  finally,  as  a  corruption  of 
symphonia  {samponia,  zainpogna)  for 
the  bagpipe  and  hurdy-gurdy  {samlmca 
rota'ta),  and,  instead  of  sacqueboute, 
for  instr.s  of  the  trombone  class.  Sam- 
liut,  Sambiut,  are  German  forms  of 
sambuca  in  the  sense  of  a  psaltery. 
[RiEMANN.] — Also  Sambuke. 

Sampo'nia.  See  Sambuca,  and  Zani- 
pogna.  (Also  cf.  Appendix.) 

Sampo'gna  (It.)  A  rustic  reed,  or 
flageolet. 

Sanctus  (Lat.)     A  division  of  the  Mass. 

Sanft  (Ger.)    Soft,  low. . .  Sanft'gcdackt, 

— a-fitte-stop  in  the  organ,  having  stopped 
pipes  of  soft  intonation. 

Sanglot  (Fr.,  "sob".)  An  obsolete 
agrement,  consisting  of  an  accent  or 
chute  sung  to  an  interjection  : 


-^=^>-, — 


=E^ 


[RiEMANN.] 

Sans  (Fr.)     Without. 

Saquebute  (Fr.)    Sackbut. 

Sar'aband.  (Ger.  and  Fr.  Saraban'de; 
It.  saraban'da.)  A  stately  dance  of 
Spanish  or  Oriental  origin,  for  a  single 
dancer,  though  later  changed  (in  Eng- 
land) to  a  sort  of  country-dance.  The 
instrumental  saraband  has,  as  a  rule,  2 
S-measure  reprises,  in  slow  tempo  and 
triple  time,  generally  beginning  on  the 
down-beat,  with  a  stress  on  or  prolonga- 
tion of  the  second  beat  (j*  r  5  |r  f)> 
and  often  highly  embellished.  Its 
place  in  the  Suite,  as  the  slowest  move- 
ment, is  before  the  Gigue. 

Sarrusophone.  A  brass  wind-instr., 
inv.  (1863)  by  and  named  after  the 
band-master  Sarrus  of  Paris,  with  a 
double  reed  like  the  oboe  and  bassoon; 
herein   differing   from   the   singk-reed 


S  ATTE  L— SB  AL2:o. 


171 


Saxophone,  from  which  its  key-mechan- 
ism is  in  great  part  borrowed.  Like 
the  saxophone,  it  is  made  in  6  principal 
sizes,  with  the  addition  of  a  rare 
sopranino  in  ^J7  and  a  contrabass  in 
£p.  Its  tone  partakes  in  quality  of 
that  of  the  nearly-related  obo^  dacaccia, 
double-bassoon,  and  bombarl. — Little 
used  outside  of  France. 

Sat'tel  (Ger.)  'iint.  .  .  Sattel  ma'chen, 
in  'cello-playing,  firm  pressure  of  the 
thumb  on  a  string,  in  the  higher  posi- 
tions, for  obtaining  harmonics,  the 
thumb  acting  as  a  temporary  nut. . . 
Sat'tellage,  half-position  (in  violin  play- 
ing)- 

Satz  (Ger.)  i.  A  themeor  subject. — 2.  A 
phrase,  i.  e.  half  a  period  of  8  measures, 
the  1st  half  being  the  Vor'dersatz,  the 
2nd  the  Nach'satz  (sometimes  trans- 
lated "fore-phrase"  and  "after- 
phrase  "). — 3.  A  chief  division  of  a 
movement. — 4.  A  Movement  2. — 5. 
The  science  of  harmony  and  counter- 
point ;  art  or  style  of  composition  ; 
cg.rei'ner  Satz,  slnci  style  (of  writ- 
ing).— 6.  A  passage  or  separate  portion 
of  a  composition. 

Saut  (Fr.)  Skip.  . .  Sauter,  to  overblow. 
. .  Sautereau,  a  jack. 

Sauver  (Fr.)  To  resolve  (a  dissonance). 
I.  in  E\y,      2.  in  Bj.  3.  in  Ei). 


Saxhorn.  A  brass  wind-instr,  inv.  in 
1842  by  Adolphe  Sax,  a  Belgian.  It  is 
essentially  an  improved  key-bugle  or 
ophicleide,  having  from  3  to  5  valves 
instead  of  keys.  Saxhorns  are  con- 
structed in  7  different  sizes,  forming  a 
complete  series  alike  in  timbre  and 
method  of  playing,  and  named  accord- 
ing to  their  fundamental  tone  or  their 
relative  pitch  and  compass.  They  are 
not  fitted  for  the  use  of  crooks.  Though 
extensively  employed  in  military  music, 
only  two,  the  Euphonium  and  Contra- 
bass-tuba, have  achieved  a  place  in  the 
orchestra. — The  nomenclature  of  the 
saxhorn  family  being  sadly  confused,  a 
list  with  the  various  appellations  is  an- 
nexed : 

1.  Sopranino  saxh.  (petit  saxh.,  petit  bugle  it 

pistons,  Piccolo  in  Es. 

2.  Soprano    saxh.    (contralto    saxh.,    bugle- 

t^nor,  Fliigelhorn  in  B). 

3.  Alto  saxh   (Althorn  in  Es), 

4.  Tenor  saxh.  (baryton  en  «' t>,  Tenorhorn 

in  B,  Bassflugelhorn). 

5.  Bass  saxh.  (tiiba-basse  en  jj'[>,  Basstiiba, 

Euphonium,  Baryton,  Tenorbass  in  B). 

6.  Low  bass  saxh.  (bombardon  en  >fti>y). 

7.  Contrabass     saxh.     (bombardon      en    j/j) 

grave,  Kontrabasstuba). 

Saxhorns  I  to  4  are  classed  as  bugles  a 
pistons;  while  5  to  7  are  classed  as 
tubas  or  bombardons. — Their  extreme 
compass  is : 


4.  in  B-y. 


S-  in  i5^). 


6.  in  E-).         7.  in  B-y. 


For  the  orchestra  there  are  also  made  a 
bass  in  C,  a  contrabass  in  C\ ,  and  a 
low  bass  in  F^^ ;  and  all  members  of  the 
family  are  also  constructed  a  semitone 
lower  in  pitch  than  shown  above. 

Saxophone.  An  instr.  of  a  type  inv. 
about  1840  by  Adolphe  Sax  of  Dinant- 
sur-Meuse,  Belgium.  It  is  a  wind-in- 
str. of  metal,  having  a  conical  tube 
with  recurved  bell,  and  clarinet-mouth- 
piece with  single  reed,  the  key-mechan- 
ism and  fingering  also  being  similar  to 
those  of  the  clarinet.  It  is  an  "  omni- 
tonic"  (chromatic)  instr.,  with  a  mel- 
low and  penetrating  tone  of  veiled 
quality  partaking  of  that  of  the  clari- 
net, cor  anglais,  and  violoncello,  but 
very  sonorous,  and  of  remarkable 
homogeneity  in  all  registers  and  sizes  ; 
6  principal  sizes  are  made,  at  intervals 
of  a  fourth  and  fifth  apart,   each  size 


in  turn  comprising  2  individuals  a 
whole  tone  apart  : 

1.  Sopranino  saxophone  in  .^(and  .£|>). 

2.  Soprano  "  "    C(  "     By\ 

3.  Contralto  "  "   /"(  "     £(>). 

4.  Tenor  "  "    C(  •'    B^). 

5.  Baryton  "  '•'■   F\.  "     E")). 

6.  Bass  "  •'   C(  "    Bo\ 

The  notation  for  this  transposing  instr, 
is     alike  l  with  interme- 

f  o  r  all    ^  /Xn.       diate  chromat- 

sizes;  9F^       /    ^  i  c    tones. 

the  com-  SD       V-'-     '  Chiefly     used 

pass    is:  *^     "•"  in  military 

bands. 

Saxotrom'ba.  A  valve  instr.  of  the 
trumpet  family,  inv.  by  Ad.  Sax,  inter- 
mediate  in  quality  of  tone  and  scale  of 
tube  between  the  Horn  and  Saxhorn  ; 
constructed,  like  the  latter,  in  7  sizes. 

Sbal'zo  (It.)  A  skip  or  leap.  . .  Sbalza'- 
to,  dashingly,  impetuously. 


172 


SBARRA— SCHERZO. 


Sbar'ra  (It.)     Bar  ;  s/>.  tfo/>'/ia,  double 
bar. 

Scagnel'lo  (It.)     Bridge. 

Scale.  I.  (Ger.  Ton'leiter ;  Fr.  Schelle, 
gaiiime;  It.  sca'la.)  For  the  ancient 
scales  compare  J\Iode,  Greek  music ^ 
Octave-scale. — A  modern  scale  is  sim- 
ply the  series  of  tones,  taken  in  direct 
succession,  which  form  (a)  any  major 
or  minor  key  (diatonic  scale),  or  {h)  the 
chromatic  scale  of  successive  semitonic 
steps.  (Comp.  A''j)'.).  .Fentaion'ic  scale, 
a  "  5-tone"  scale  found  in  primitive 
melodies  of  certain  peoples  (Scotch, 
Chinese),  in  which  the  step  of  a  semi- 
tone is  avoided  by  omitting  the  4th  and 
7th  degrees  in  major  and  the  2nd  and 
6th  in  minor.  It  can  be  played  on  the 
piano  by  touching  5  successive  black 
keys,  beginning  on  F^  for  major,  and 
on  E^  for  minor.  The  ancient  Greek 
chromatic  scale  also  had   five  tones. — 

2.  The  series  of  tones  producible  on 
various  wind-instr.s  is  also  called  a 
scale,  whether  the  series  is  diatonic  or 
not ;  the  term  is  also  used  for  the  com- 
pass or  range  of  a  voice  or  instr. — Hai-- 
vionic  scale,  the  series  of  higher  partial 
tones  (see  Acoustics). — 3.  (Ger.  Meii- 
siir' ;  Fr.  /laloii.)  In  the  tubes  of 
wind-instr  s,  especially  organ-pipes,  the 
ratio  between  the  width  of  bore  and 
the  length  ;  this  varies  in  organ-pipes 
from  about  I  :  10  to  I  :  24,  a  broad 
scale  yielding  a  mellow,  sonorous  tone, 
and  a  narrow  scale  yielding  a  sharp 
and  thrilling,  or  a  thin,  stringy  tone. 

Scannet'to,  Scannel'lo  (It.)  Same  as 
Scagnello. 

Sceman'do  (It.)     See  DitninuenJo. 

Sce'na  (It.)  i.  In  the  opera,  a  scene 
(Fr.  scene,  Ger.  Auftritt),  i.  e.  a  divi- 
sion marked  by  the  entrance  or  e.xit  of 
one  or  more  performers. — 2.  An  ac- 
companied solo  of  a  dramatic  charac- 
ter, consisting  of  arioso  and  recitative 
passages,  and  frequently  terminating 
with  an  aria,  then  being  termed  scena 
ed  a'ria. — 3.  A  stage. 

Scena'rio(It.)  I.  The  plot  of  a  dramat- 
ic work.— 2.  A  skeleton  libretto  of 
such  a  work,  sketching  the  course  of 
the  plot,  and  giving  entrances  and  exits 
of  leading  personages,  serving  as  a 
guide  to  stage-managers,  actors,  etc. — 

3.  A  play-bill. — 4  (pi.)  Scena'rii,  scenes, 
side-scenes,  decorations. 

Scena'rium.     An  opera-libretto  contain- 


ing the  full  dialogue,  and  directions  for 
the  actors,  etc. 
'^  Scene.  I.  A  division  of  a  dra.matic  per- 
formance marked  by  a  change  of  sce- 
nery.— 2  (the  preferable  usage).  Same 
as  Sec  I!  a  I. 

Schablo'ne  (Ger.)  A  stencil,  pattern  ; 
hence,  Schablo' nenmtisik ,  schahlo' nen- 
hafte  Musik' ,  uninspired  composition 
written  to  fit  a  cut-and-dried  form,  or 
in  mere  imitation  of  any  style;  "stereo- 
typed" music. 

Scha'ferlied  (Ger.)  Shepherd's  song, 
pastoral  d\i\.y . .  .  Sc/idferpfeife,  shep- 
herd's pipe,  %\ia.vfn\. .  .  Sckd'fertanz, 
shepherd's  dance. 

Schalk'haft  (Ger.)  Roguish,  sportive, 
wanton.     (Also  adverb.) 

Schail  (Ger.)  Sound,  resonance,  resound- 
ing, ringing.  . .  Schail' bee  her.  Bell  2. .  . 
Schail' becken,  cymbals.  .  .  Schail' loch, 
(a)  y-hole;  (b)  sound-hole. ..  5^/^(7 //'- 
stab,  triangle.  . .  Schail' stiick,  -trickier. 
Bell  2. 

Schalmei',  Schalmey'  (Ger.)  Shawm; 
chalumeau. 

Schanzu'ne  (Ger.)  Corruption  of  Chan- 
son. 

Scharf  (Ger.)     Sharp.     See  Acuta. 

Schau'rig  (Ger.)  In  a  style  expressive 
of  (or  calculated  to  inspire)  mortal 
dread  ;  weirdly. 

Schel'lenbaum  (Ger.)     Crescent. 

Scherzan'do  (It.)  In  a  playful,  sport- 
ive, toying  manner.  Also  sc/unan'te, 
scherze'vole,  scherzo' so. 

Scherz'haft  (Ger.)  Sportive ;  jocose, 
burlesque.     (Also  adverb.) 

Scher'zo  (It.,  dimin.  scherzi'no.)  A  joke, 
jest. — I.  An  instrumental  solo  piece  of 
a  light,  piquant,  humorous  character; 
hence  applied  to  very  various  composi- 
tions in  which  an  animated  movement 
and  sharp  and  sudden  contrasts  are 
leading  features. — 2.  A  movement  in  a 
sonata,  concerted  composition,  or  sym- 
phony, usually  in  triple,  sometimes  in 
duple,  time,  introduced  chiefly  by  way 
of  contrast  with  slower  movements, 
consequently  of  a  bright,  vivacious, 
often  humorous  character,  with  strong- 
ly marked  rhythm,  and  sharp  and  un- 
expected contrasts  in  rhythm  and  har- 
mony, requiring  delicate  phrasing  and 
shading.  Its  forerunner  in  the  sym- 
phony was  the  Minuet  of  Haydn ; 
Beethoven  named  this  movement,  which 


SCHIETTO— SCHWER. 


173 


had  entirely  lost  its  original  slow  and 
stately  character,  Scherzo,  nothing  of 
the  Minuet  being  left  but  the  (much 
extended)  form.  The  Beethoven  Scher- 
zo is  usually  the  3rd  movement;  but 
under  different  conditions  the  scherzo 
may  with  equal  propriety  take  the  second 
place. 
Schiet'to,  Schiettamen'te  (It.)  Plain, 
simple,  unembellished  (also  adverb). 

Schis'ma  (Gk.)  The  difference  between 
the  third  tierce  of  the  8th  quint  (see 
Temperament)  and  the  octave  of  the 
given  tone  (/;j$  :  c  =  32805:32768);  one- 
eleventh  of  a  syntonic  comma. 

Schlag  (Ger.)  A  beat,  pulse ;  blow, 
stroke .  .  .  Schlag'feder,  a  plectrum . .  . 
Schlag' instrument,  instr.  of  percussion. 
,  .Schlag'manieren  (pi.),  the  various 
strokes  in  drum-playing. ..  5(7^/(7^^'''- 
zither,  the  ordinary  zither  played  with 
plectrum  and  fingers;  opp.  to  Streich'- 
zither  (bow-zither). 

Schla'gel  (Ger.)  Drumstick ;  mallet, 
small  hammer. 

Schlecht  (Ger.,  "  bad  ")•  Weak  ;  as 
schlech'ter  Takt'teil,  weak  beat. 

Schleif'bogen (Ger.)  Slur. . .  Schlci'fen, 
to  slur.  .  .  Schlei'fer,  (a)  a  slide  ;  (b)  a 
slow  German  waltz,  Landler. . .  Schleif- 
zeichen,  slur. 

Schlep'pen  (Ger.)  To  drag,  retard... 
ScJdcp'peiid,  dragging. 

Schluss  (Ger.)  Conclusion,  end;  close, 
cadence . . .  Schluss' fall,  a  cadence .  .  . 
Schluss' kadenz,  final  or  closing  ca- 
dence. .  .  Schluss' note,  final  note.  . . 
Schhiss'  satz,  concluding  movement. 
Finale. .  .  Schluss' striclie,  double-bar. .  . 
Schluss' zeichen,  {a)  the  double-bar  ;  (b) 
the  hold  /T\. 

Schliis'sel  (Ger.,   "key"). 

Schliis'seljiedel,  nail-fiddle. 

. .  Schliis' sel-G,  the  note  g^ 

on     the     treble-clef     line: 
Schmei'chelnd  (Ger.)     Flattering  ;  in  a 

coaxing,  caressful  style. 
Schmerz  (Ger.)      Pain  ;  grief,  sorrow. 

. .  Schmerz' haft,  schmerz' lick,  painful, 

sorrowful,  plaintive.     (Also  adverb.) 
Schna'bel  (Ger.,  "beak"  ;  Fr.  bee).     A 

mouthpiece  like  that  of  the  clarinet  or 

flageolet.  .  .  Schnabeljlote,  flute  a  bee. 
Schnarr'werk  (Ger.)    The  reed-work  of 

an  organ,  era  single  reed-stop. — Also, 

a  Regal. 


clef. 


Schneck'e  (Ger.,   "snail").     Scroll. 
Schnell    (Ger.)       Fast,    quick,      rapid. 
(Also  adverb.).  .  .  Schncl'ler,  {a)  faster; 
as  nach  und  nach  schneller,  gradually 
faster  ; — (/')  an  inverted  mordent. 
Schot'tische.  (Ger.  Schot' iisch,''^cotQk\.., 
Scottish ").      A   round    dance    in   2-4 
time,  a  variety  of  the  Polka  ;  the  Ecos- 
saise  is  a  country-dance. 
Schrag  (Ger.)     Oblique. 
Schreib'art  (Gc-.)     Style. 
Schrei'end  (Ger.)    Strident  ;  screaming, 

screeching,  squeaking. 
Schrei'erpfeife  (Ger.)     See  Schryari  2. 

Schryari.  i.  An  obs.  wind-instr.  de- 
scribed by  Prcetorius  in  the  "Syntag- 
ma".— 2.  The  sharpest  mixture-stop, 
usually  in  3  ranks  and  tuned  in  octaves, 
beginning  3  octaves  above  the  key 
struck. 

Schub  (Ger.)     Slide  (of  bow). 

Schuh  (Ger.)  Bridge  (of  a  tromba  ma- 
rina). . .  Schuh'platlltanz,  a  kind  of  clog- 
dance  in  the  Austrian  and  Bavarian 
Alps. 

Schul'tergeige  (Ger.)  Viola  da  spalla; 
opp.  to  Kniegeige. 

Schu'sterfleck  (Ger.)     Rosalia. 

Schv^ach  (Ger.)  i.  Weak,  as  schivach'er 
Taktteil,  weak  beat. — 2.  Soft,  faint,  low; 
schzoiich'er,  fainter,  softer. 

Schwar'mer  (Ger.)     A  Rauscher. 

Schv^e'bung  (Ger.)  i.  In  mus.  acous- 
tics, a  Beat  .\. — 2.  Same  as  Tre/nulant. 

Schwe'gel  (Ger.)  i.  Any  wind-instr. — 
2.  A  pipe,  especially  a  flue-pipe  in  the 
organ,  the  Schwe'gelpfeife  being  an 
open  stop  of  8  or  4-foot  pitch,  the 
pipes  slightly  tapering  at  the  top. 

Schwei'gezeichen  (Ger.)     A  rest. 

Schweins'kopf  (Ger.,  "  pig's-head"). 
Obsolete  term  for  FlUgel. 

Schwei'zerflote  (Ger.)  i.  Fife. — 2.  In 
the  organ,  an  8-foot  metal  flue-stop  of 
penetrating  tone  ;  the  same  of  4-foot 
pitch  is  called  Sch-uei'zerpfeife;  of  16- 
foot  pitch,  on  the  pedal,  Schicei'zer- 
Jlotenbass.  .  .  Schwei'zerpfeiff,  earliest 
name  of  the  German  flute. 

Schwel'len  (Ger.)     See  Anschwellen. 

Schwrel'ler  (Ger.)    Swell  (of  the  organ). 

Schweirton  (Ger.)     Messa  di  voce. 

Schwell'werk  (Ger.)     Swell-organ. 

Schwer    (Ger.)     i.     Heavy,    ponderous 


174 


SCHWIEGEL— SECULAR   MUSIC. 


(see  Pesante). — 2.  Difficult.  .  .  Schiudr'- 
miitig^  melancholy,  sad. 

Schwie'gel  (Ger.)     See  Sch7vegel. 

Schwin'dend  (Ger.)  Dying  away, 
morendo. 

Schwing'ung  (Ger.)     Vibration. 

Sch'wung'voU  (Ger.)  With  sweep  and 
passion. 

Scialumo'  (It.)     Chalumeau. 

Scintillan'te  (It.  and  Fr.)  Brilliant, 
sparkling. 

Scioltamen'te  (It.)  Freely,  fluently. 
xivcc^Xy .  . .  Scioltcz'za,  freedom,  fluency- 
.  .Sciol'to,-a^  free,  fluent,  SL'gxXo.;  fuga 
sciolta,  free  fugue,  opp.  to  fuga,  obbli- 
ga'ta. 

Seorda'to  (It.)  i.  Discordant,  out  of 
tune. — 2.  Tuned  in  a  manner  deviat- 
ing from  the  ordinary  one. .  .Scoxdatit^ 
ra,  an  alteration  of  the  ordinary  accor- 
^'daliira  of  a  stringed  instr.  for  the  at- 
tainment of  special  effects  ;  e.  g.  Paga- 
nini's  tun-  0  <['- — r^'^: in  which  the 
i  n  g  of  ^ — a^^i^LzM^  6^-string  was 
the  violin:  t/  ^-  FS  raised  a  min- 
or and  a  major  third  respectively  ;  such 
an  alteration  is  sometimes  called  solo 
pitch. 

Score.  (Ger.  Partitur' ;  Yx.  partition; 
It.  partita' ra,  partizio'iie.)  A  system- 
atic arrangement  of  the  vocal  or  instru- 
mental parts  of  a  composition  one  above 
the  other,  tones  sounded  together  being 
in  the  same  vertical  line,  to  facilitate 
xca.d\ng. .  .Close  or  compressed  score, 
see  Short  score.  .  .Full  or  orchestral 
score,  one  in  which  each  vocal  and  in- 
strumental part  has  a  separate  staff  as- 
signed to  it  (see  Orchestra).  .  .Fiauo- 
forte-score,  one  having  the  vocal  parts 
written  out  in  full,  generally  on  separ- 
ate staves,  the  pfte.-accomp.  being  ar- 
ranged or  compressed  (from  the  full  in- 
strumental score)  on  2  staves  below  the 
rest.  .  .Organ-score,  arr.  \\Vq p/le.-score, 
except  that  a  third  staff  for  pedal-bass 
is  often  added  below  the  others... 
Short  score,  {a)  any  abridged  arrange- 
ment or  skeleton  transcript  ;  {h)  4-part 
vocal  score  on  2  staves.  . .  Supplement- 
ary score,  see  Partitino. . .  Vocal  score, 
(a)  score  of  an  a  cappella  composition  ; 
(jb)  same  a.s  p/te. -score. 

Scoring.  Same  as  Instrumentation,  or 
Orchestration. 

Scorren'do  (It.)  Flowing,  gliding.  (Also 
scorre'vole.) 


Scotch  snap  or  catch.     The  rhythmic 

mo-    p-     frequently  recurring  in  many 
tive  dm' '  Scotch   airs  (the  reverse  of 
the   com-    r~5\ 
mon  motive  J  .  J'' 

Scozze'se  (It.)  Scotch  ;  alia  s.,  in  the 
Scotch  style. 

Scroll.  (Ger.  Schnecke;  Fr.  volute;  It. 
voluta.)  The  terminal  curve  of  the 
head  in  the  violin,  etc. 

Sde'gno  (It.)  Scorn,  disdain ;  wrath, 
indignation.  . .  Sdegnosamen' ie,  scorn- 
fully, etc. .  .Sdegno'so,  scornful,  etc. 

Sdrucciolan'do  (It.)  ^Wding. .  .Sdruc- 
ciola're,  to  slide,  by  pressing  down  the 
pfte.-keys  in  a  rapid  sweep  with  the 
hnger-nails. 

Se  (It.)  If . . .  5i?  biso'gna,  if  necessary  ; 
se  pia'ce,  if  you  please.     (Comp.  .St.) 

Sea-trumpet.     Tromba  marina. 

Sec  (Fr.),  Sec'co  (It.)  Dry ;  simple, 
unembellished  (see  Recitative). 

Sechs  (Ger.)  Six. .  .  Sechsach' teltakt,  6-8 
Uxm. .  .Scchs'er,  sechs' taktiger  Satz,  a 
passage,  period,  or  theme  comprising  6 
measures. .  .  Sechsvier' teltakt,  6-4  time. 

Sech'(s)zehn  (Ger.)  Sixteen ...  5i'r/4''- 
zehntel  {note),  itih-nQiQ. . .  Sech'zehn- 
telpause,   i6th-rest. 

Second.  I  {noun).  (Ger.  Sckun'de! 
Fr.  scconde;  It.  secon'da.)  The  inter- 
val between  2  conjunct  degrees  (see 
Interval). — 2.  The  alto  part  or  voice. 
— 3.  {adj.)  (Ger.  zzueit-er,-e,-es;  Fr. 
second, -e;  It.  secondo,-a.)  {a)  Perform- 
ing a  part  lower  in  pitch  than  first  ;  as 
second  bass,  second  violins;  {b)  lower  in 
pitch,  as  second  string;  {c)  higher,  as 
second  line  of  staff. 

Secondaire  (Fr.)  A  temps  secondaire  is 
a  weak  beat. 

Secondary  chords.   Subordinate  chords. 

Seconde  dessus  (Fr.)    Second  soprano. 

Secon'do,-a  (It.)  Second  {adj.);  as 
seconda  don'na,  the  female  singer  tak- 
ing the  leading  parts  after  the  prima 
donna;  violi'ni  secondi,  second  violins. 
. .  {N'oun.)  Secondo,  a  second  part  or 
performer  in  a  duet. 

Section.  In  the  wider  sense,  a  short 
division  (l  or  more  periods)  of  a  com- 
position, having  distinct  rhythmic  and 
harmonic  boundaries  ;  specifically,  half 
a  phrase  (see  Form). 

Secular  music.     Music  other  than  that 


SECUNDE— SEPTET. 


175 


intended  for  worship  and  devotional 
purposes. 

Secun'de  (Ger.)     See  Sekunde. 

Sede'cima  (Lat.  and  It.)  i.  The  inter- 
val of  a  sixteenth. — 2.  Obs.  name  oi 
the  fifteenth  (organ-stop). 

See'le  (Ger.,  "soul").     Soundpost. 

Se'gno  (It.)  A  sign.  .  .Al  segno,  to  the 
sign  ;  Dal  segno,  from  the  sign, — di- 
rections to  the  performer  to  turn  back 
and  repeat  from  the  place  marked  by 
the  sign  (.Jj-.,  0,  ■^,  §,  etc.)  to  the 
word  Fine,  or  /r>  In  place  of  the 
to  a  double-  izlt.  words,  the  sign 
bar  with  hold:  — tz  alone  is  some- 
times set. 
(JBe'gue  (It.)  Follows  ;  as  segue  I'aria, 
"  the  aria  follows . . .  Seguen'do,  stgueti' te, 
following.  —  Also,  same  as  Simile. 

Seguen'za  (It.)     Sequence. 

Seguidil'Ia  (Span.)  A  Spanish  dance  in 
triple  time,  some  varieties  having  a  slow 
and  stately  movement,  while  others  are 
lively  ;  usually  in  minor,  accompanied 
by  guitar  and  voice,  and  at  times  by  the 
castanets. 

Sehn'sucht  (Ger.)  Longing,  yearning. 
.  .Sehn'suchtig,  in  a  style  expressive  of 
intense  yearning. 

Sehr  (Ger.)     Very. 

Se'i  (It.)    Six. 

Sei'tenbe'wegung  (Ger.)  Oblique  mo- 
tion. . .  Sei'tensatz,  a  second  or  second- 
ary theme,  as  in  the  sonata  and  rondo. 

Sekun'de  (Ger.)    A  second. 

Semibiscro'ma  (It.)     A  32nd-note. 

Sem'ibreve.  (Lat.  semilirev'is.)  A  whole 
note. 

Semicro'ma  (It.)     A  i6th-note. 

Sem'icrome.  A  semicroma  ;  but  former- 
ly sometimes  used  for  quaver. 

Semicrotch'et.     A  quaver. 

Sem'idemisemiqua'ver.     A  64th-note. 

Semidiapa'son.  Diminished  octave. . . 
Semidiapen'ie,  diminished  fifth.  ..  .Sc-- 
midiates'saron,  diminished  fourth. 

Semidi'tas  (Lat.)  The  diminution  caused 
by  a  vertical  stroke  through  the  time- 
signature. 

Semi-di'tone.  (Lat.  semidi' tonus.)  The 
minor  ihxrd.  .  .Sefniditonus  cum  dia- 
fente,  minor  7th. 

Semifu'sa  (Lat.)     Semiquaver. 

Semi-grand.     A  small  grand  piano. 


Semiminim.  (Lat.  and  It.  semimi'nima) 
A  crotchet,  or  quaver. 

Semipau'sa  (Lat.)     A  semibreve-rest. 

Semiqua'ver.     A  i6th-note. 

Semisuspi'rium  (Lat.)     A  crotchet-rest. 

Semitone.  (Ger.  Halb'ton;  Fr.  detni- 
ion;  It.  semiiuo'no.)  The  narrowest 
interval  employed  in  modern  music. 
(See  Interval.) 

Semi-tonique  (Fr.)  Same  as  chromatiqtu. 

Semito'nium  (Lat.)  A  semitone ...  5. 
Jictu?n,  a  chromatic  semitone.  ..  6". 
modi,  the  leading-note.  ..  6'.  natura'le, 
a  diatonic  semitone. 

Sem'plice  (It.)  Simple,  plain,  unaffected. 
. .  SempHcemen' te,  simply,  etc. . .  Sem- 
plicita' ,  con,  in  a  simple,  unaffected 
style. 

Sem'pre  (It.)  Always,  continually  ; 
throughout. 

Sensi'bile(It.,  "  sensitive"). — Notasen- 
"  sibile,  leading-note. 

Sensibilita',  con  (It.)    See  Espressivo. 

Sensible  (Fr.)  The  leading-note  ;  also 
note  se7isihle.  (In  English  the  leading- 
note  is  sometimes  called  "  sensible 
note".) 

Sentence.     See  Period,  Form. 
Sentimen'to,  con   (It.)     With  feeling, 
expressively. 

Senti'to  (It.,  "felt").  With  feeling, 
expression,  special  stress. 

Sen'za  (It.)  "Without.  (Abbr.  S.)...S. 
passio'ne,  with  avoidance  of  all  marked 
accents  and  passionate  expression. .  .S. 
piat'ti,  "drum  alone"  (where  one  per- 
former plays  the  cymbals  and  bass 
drum) .  . .  S.  sordi'ni,  see  Sordino. . .  .S". 
iem'po,  not  in  strict  tempo,  ad  libitum. 
.  .  S.  di  slentare,  without  retarding. 
\Senza  is  often  followed  by  a  bare  in- 
finitive, which  is  then  to  be  translated 
as  a  participial  substantive  ;  e.  g.  senza 
rallentare,  without  retarding.] 

Separation,  r.  An  obs.  term  for  a 
passing-note  between  2  tones  forming  a 
tierce. — 2.  In  the  organ,  a  mechanical 
device  for  preventing  the  great-organ 
action  from  sounding  its  stops ;  used 
when  the  action  is  pneumatic  and 
coupled  to  other  manuals  of  heavier 
touch. 

Sept-chord.     Chord  of  the  7th. 

Septde'zime  (Ger.)     A  seventeenth. 

Septet'.     (Ger.  Septett' ;  Fr.  septuor;  It 


176 


SEPTlfeME— SESQUIALTERA. 


settimi'uo)     A   concerted  composition 

for  7  voices  or  instr.s. 
Septi^me  (Fr.),  Sep'time  (Gar.)     The 

interval    of    a    'jX\\...Sip'tiinc>iakkord 

(Ger.),  chord  of  the  7th. 
Septimo'le,  Septo'le  (Ger.)    Septuplet. 
Septuor  (Fr.)     Septet. 
Sep'tuplet.     A  group  of  7  equal  notes 

to  be  performed  in   the   time  of   4  or  6 

of      the     same    kind    in    the    regular 

rhythm;    a  m  m  ''m  m  m  m 

written:    I     '     I     '     I     I     '  ' 

Se'quence.  (Lat.  sequen'tia;  It.  segtien'- 
sa;  Ger.  SrqtiL-nz'.)  i.  The  repetition, 
oftener  than  twice  in  succession,  of  a 
melodic  motive,  the  repetitions  ascending 
or  descending  byuniform  intervals.  The 
hannonic  sequence  is  merely  the  group- 
ing of  chords  necessitated  by  the  reiter- 
ation of  the  melodic  figure.  K  diatonic 
or  tonal  sequence  employs  only  tones 
proper  to  the  key  ;  a  chromatic  or  modu- 
latory sequence  is  one  in  which  acciden- 
tals are  used  more  or  less  freely  ;  a  se- 
quence progressing  by  a  whole  tone  or 
semitone  is  called  a  Rosalia.  (Also 
Progression.) — 2.  In  the  R.  C.  Church, 
a  kind  of  hymn  ;  such  were  founded  on 
the  melodies  of  the  sequentiiS  (the 
jubilations  of  the  Alleluia  following  the 
epistle,  words  being  in  time  set  to  the 
melodies  instead  of  the  original  syllables 
a-e-u-i-a),  whence  the  name.  They 
originated  in  the  gth  century,  and  mul- 
tiplied to  such  an  extent  that  Pius  V.  in 
1563  expunged  all  but  5  (Victimx* 
paschali ;  Veni  Sancte  Spiritus  ;  Lauda 
Sion  ;  Stabat  Mater  ;  Dies  iroe).  (Also 
Prose  [Lat./rtij-d].) 

Seraphi'na,  Ser'aphine.  A  precursor 
of  the  harmonium,  inv.  by  John  Green 
in  1833  ;  owing  to  its  harsh  tone,  it 
was  speedily  superseded  by  the  latter. 

Serenade'.  (Ger.  Stdnd'chen;  Fr.  j/;-/- 
nade;  It.  serena'ta.)  I.  An  "evening 
song  ;"  specifically,  such  a  song  sung 
by  a  lover  before  his  lady's  window. — 
2.  An  instrumental  composition  imi- 
tating the  above  in  style. — From  these 
was  evolved  the 

Serena'ta  (Fr.  and  It.  ditto ;  Ger.  Sere- 
na'de.)  I.  A  species  of  dramatic  can- 
tata greatly  in  vogue  during  the  1 8th 
century. — 2.  An  instrumental  compo- 
sition, midway  between  the  Suite  and 
Symphony,  but  freer  in  form  than  either, 
consisting  of  5,  6,  or  more  movements 
for  very  various  combinations  of  instr.s, 


:=!= 


and  in  chamber-music  style.  The  earlier 
serenatas  were  invariably  concerted 
pieces  ;  they  were  also  called  Cassations 
and  Divertinienti. 

Sere'no  (It.)     Serene,  calm,  tranquil. 

Serinette  (Fr.)  A  bird-organ  (small 
barrel-organ  used  in  training  song- 
birds). 

Se'rio,-a  (It.)  Serious ...  C'/^ra  j^r/a, 
grand  or  tragic  opera  ;  opp.  to  Opera 
bujfa .  .  Tenore  serio,  dramatic  tenor. 

Serio'so  (It.)  In  a  serious,  grave,  im- 
pressive style. 

Serpent.  (It.  serpen' te^j  A  nearly  obs. 
wood-wind  instr.,  still  used  in  some 
French  churches,  but  seldom  met  with 
in  the  orchestra  ;  inv.  by  Canon  Guil- 
laume  of  Auxerre  in  1590.  It  belongs 
to  the  Zinke  {Cometto)  family ;  the 
modern  forms  have  a  recurvate  bell, 
and  a  cupped  mouthpiece  set  in  a  brass 
crook  forming  a  right  angle  with  the 
first  bend  of  the  serpentine  tube.  The 
tube  is  of  wood,  covered  with  leather, 
about  8  feet  long,  and  Spot. 

providedwith  6  finger-  _; ■  ,1?^ 

holes    and   a    varying  ^'i 
number    of   addition-  _^ 

al    keys.       Compass :  "•"^ 

the  serpent  being  a  transposing  instr., 
in  Biy,  the  notes  are  written  a  degree 
higher.  The  tone  is  variously  described 
by  French  authorities  as  "harsh  and 
savage",  and  as  a  "cold,  horrid  howl- 
ing". It  is  replaced,  in  the  modern 
orchestra,  by  the  bass  tuba  (or  ophi- 
cleide). — The  Serpentcleide  resembles 
the  ophicleide,  but  retains  the  wooden 
tube. — The  Contra-serpent  produces  16- 
foot  E"^. — Some  old  organs  have  reed- 
stops  named  serpent. 

Service.  In  the  Anglican  Liturgy,  a 
complete  series  of  mus.  settings  of  the 
canticles,  etc.,  the  free  composition  of 
which  is  sanctioned  by  usage.  Ver- 
sicles,  responses,  chants,  and  anthems, 
are  e.xicluded.  The  full  list  for  morning 
and  evening  prayer,  and  communion, 
includes  the  Venite  exultemus,  Te 
Deura,  Benedicite,  Benedictus  (domi- 
nus),  Jubilate,  Kyrie,  Credo  (Nicene 
Creed),  Sanctus,  Agnus  Dei,  Benedic- 
tus (qui  venit),  Gloria,  Magnificat, 
Cantate  domino,  Nunc  dimittis,  and 
Deus  misereatur ;  all  composed  for 
chorus  and  soli ,  with  or  without  accomp 
by  organ  or  orchestra. 

Sesquial'tera  (Lat.,  "one-half  more".) 


SESQUINONA— SHARP. 


177 


I.  A  perfect  fifth,  its  ratio  to  the  prime 
being  i :  i  j  =  2  :  3. — 2.  In  mensurable 
music,  the  proportion  marked  by  the 
signature  ^,  indicating  that  the  time- 
value  of  3  minims  is  then  equivalent  to 
that  of  2  before. — 3.  A  mixture-stop  in 
the  organ  ;  the  name  is  properly  appli- 
cable to  a  mutation-stop  a  fifth  above  the 
fundamental  tone  or  some  given  octave 
of  the  latter,  but  is  ordinarily  used  to 
designate  a  compound  stop  producing 
the  3rd,  4th,  and  5th  partial  tones,  or 
their  octaves  ;  it  has  from  2  to  5  ranks. 

Sesquino'na.  The  lesser  whole  tone, 
its  ratio  being  9  :  10. 

Sesquiocta'va.  The  greater  whole  tone, 
its  ratio  being  8  :  9. 

Sesquiquar'ta.  The  major  third,  its 
ratio  being  4:5. 

Sesquiquin'ta.  The  minor  third,  its 
ratio  being  5  :  6. 

Sesquiter'tia.  The  perfect  fourth,  its 
ratio  being  3  :  4. 

Ses'quitone.  A  minor  third,  i.  e.  il 
tone. 

Sestet'.     (It.  sestet'to.)     A  sextet. 

Sesti'na  (It.)     A  sextuplet. 

Se'sto,-a  (It.)  Sixth ...  .St' J- /a  {iionn). 
interval  of  a  sixth. 

Ses'tole,  Ses'tolet.     A  sextuplet. 

Settimi'no  (It.)     A  septet. 

Set'timo,-a  (It.)  Seventh ...  ^c/'/Zwrt 
{nou/i),  interval  of  a  7th. 

Setz'art  (Ger.)  Style  of  composition.  .  . 
Setz' kunst,  art  of  composition . .  .  Setz'- 
stiick,  crook. 

Seul,-e  (Fr.)     Alone,  solo. 

Seventeenth,  i.  Interval  of  2  octaves 
plus  a  tierce. — 2.  Same  as  Tierce  (organ- 
stop). 

Seventh.  (Ger.  Sep'time;  Fr.  septievie; 
It.  set'tima.)  See  Interval.  . .  Seventh- 
chord,  a  chord  of  the  7th,  composed  of 
a  root  with  its  third,  fifth,  and  seventh. 

Severamen'te  (It.)  Strictly,  with  rigid 
observance  of  tempo  and  expression- 
marks. 

Sext.  I.  The  interval  of  a  sixth. — 2. 
The  office  of  the  fourth  canonical  hour. 
— 3.  A  compound  organ-stop  of  2  ranks 
(a  twelfth  and  a  seventeenth)  a  sixth 
apart. 

Sex'ta  (Lat.)  Sixth . . .  {Noun.)  The  in- 
terval of  a  sixth ;  also,  a  sixth  part  (see 
Quintus). 


Sex'te  (Ger.)     A  sixth. 

Sextet'.  (It.  sestet' to:  Fr.  sextnor;  Ger. 
Sextett' .)  A  concerted  composition  for 
6  voices  or  instr.s  ;  or  for  6  obbligato 
voices  with  instrumental  accomp. 

Sex'tole,  Sex'tolet.     A  sextuplet. 

Sex'tuplet.  A  group  of  6  equal  notes 
to  be  performed  in  the  time  of  4  of  the 
same  kind  in  the  regular  rhythm.  In 
the  true  sextuplet  the  1st,  3rd,  and  5th 
notes  are  accented  ;  the  false  sextuplet 
is  simply  a  double  triplet. 

Sex'tus  (Lat.)     A  sixth  part  (see  Sexto), 

Sfoga'to  (It.,  "exhaled").  In  vocal 
music,  a  direction  to  render  the  passage 
so  marked  in  a  light  and  airy  manner. 
. .  Soprano  sfogato,  a  high  soprano ; 
compass  from  c^  to  c^  (/^)  . 

Sforzan'do  (It.,  "forcing,  pressing"). 
A  direction  commonly  applied  to  a 
single  tone  or  chord,  indicating  that  it 
is  to  be  performed  with  special  stress, 
or    marked  and  sudden  em-  r 

phasis.  Ahhr,  s/z.,  s/.;  sign  '',  A,  ^ 
(Also  Sforza'to.) 

Sfuggi'ta  (It.)  Avoided,  eluded  ;  as 
cadenza  sfuggita. 

Sgallinaccia're  (It.)  To  sing  with  a 
harsh,  uneven,  quavering  voice.  (From 
gallinae'cio,  a  turkey-cock.) 

Shade.  "Shading  of  pipes",  the  plac- 
ing of  anything  so  near  the  top  of  an 
organ-pipe  as  to  affect  the  vibrating 
column  of  air  which  it  contains. 
[Stainer  axd  Barrett.] 

Shake.  Same  as  Trill.  .  .  Shaked graces 
(obs.),  the  shaked  Beat,  Backfall,  Ca- 
dent,  and  Elevation,  and  the  Double 
Relish. 

Shalm.     A  shawm. 

Sharp  {noun).  (Ger.  Kreuz;  Fr.  dilse; 
It.  die'sis.)  The  sign  Jf,  which,  set 
before  a  note  or  on  a  degree  of  the  staff, 
raises  its  pitch  by  a  chromatic  semitone 
.  .Double-sharp,  the  sign  x  (formerly 
also  ^,  jj<,  etc.),  raising  the  pitch  of 
its  note  by  2  chromatic  semitones  (=1 
tone  on  tempered  instr.s). 

Sharp  {adj.)  I.  (Of  tones  or  instr's.) 
Too  high  or  acute  in  pitch. — 2.  (Of  in- 
tervals.) Major  or  augmented. — 3.  (Of 
keys.)  Having  a  sharp  or  sharps  in  the 
signature. — 4.  (Of  organ-stops.)  Shrill. 
— 5.  (Of  digitals;  pi.)  The  black  keys; 
also  any  white  key  a  semitone  above 
another. 


tn% 


SHAWM— SIGNS. 


Shawm.  (Ger.  Schalmei'.)  An  obs. 
double-reed  wind-instr. ,  the  precursor 
of  the  oboe,  the  prime  difference  be- 
tween them  being  that  the  reed  of  the 
shawm  was  set  in  a  cupped  or  globular 
mouthpiece,  whereas  the  oboe-reed  is 
held  directly  betwixt  the  lips. — The 
chanter  of  the  bagpipe  is  probably  the 
sole  surviving  form  of  the  ancient 
shawm.  (Also  Shalm)  [N.  B.  The 
Fr.  chalnmeaii  had  a  single  reed.] 

Shift.  A  change  in  the  position  of  the 
left  hand,  in  playing  the  violin,  etc., 
from  the  first  position,  in  which  the 
forefinger  stops  its  string  a  semitone  or 
tone  higher  than  the  pitch  of  the  open 
string,  according  to  the  scale  ;  the  2nd 
position  is  called  the  half-shift,  the 
3rd  the  whole  shift,  and  the  4th  the 
double  shift.  When  out  of  the  ist  po- 
sition the  player  is  said  to  be  "  on  the 
shift",  and  shifting  up  or  down,  as  the 
case  may  be.     (See  Position.) 

Shutter.  In  the  organ,  one  of  the  blinds 
forming  the  front  of  the  swell-box. 

Si.  I.  (It.)  One,  it;  often  written  in 
directions,  as  si  leva  il  soj'dino,  take  off 
the  mute  ;  si  le'vano  i  sordini,  take  off 
the  mutes  ;  si  pia'ce,  si  lihet  (Lat.),  at 
pleasure  ;  si  repli'ca,  repeat  (=  Da 
Capo);  si  segue,  proceed  ;  si  tace,  be 
silent ;  si  volta,  turn  over.  [Beethoven 
writes  {^E^  Quartet,  op.  74):  "Si  ha 
s'immaginar'la  battuta  di  %" ,  meaning: 
"  Imagine  the  time  to  be  ^."] — 2.  The 
7th  of  the  solmisation-syllables  ;  hence, 
name  of  the  note  B  in  France  and 
Italy... 5"?  contra  fa,  see  Mi.  (Com- 
pare Key,  and  Solmisation.) 

Sicilia'na  (It.),  Sicilienne  (Fr.)  Dance 
of  the  Sicilian  peasants  ;  a  kind  of  pas- 
torale in  moderately  slow  tempo  and 
6-8  or  12-8  time,  frequently  in  minor, 
and  common  (especially  in  the  iSth 
century)  as  an  andante  movement  in 
sonatas  or  vocal  music.  (Not  Sicilia'- 
no). .  .Alia  si ci liana,  in  the  style  of  the 
above. 

Side-drum.     See  D?-nm.   ■ 

Sieb  (Ger.)  Soundboard  of  the  organ 
(Lat.  cribrum). 

Sifflet  (Fr.)  Whistle.  ..S.de  Pan,  Pan- 
dean 'p'x'pQS. .  .Siflet-diapason,  pitch- 
pipe. 

Sif'flot  (Ger.)  In  the  organ,  an  open 
metal  flue-stop  of  broad  scale  and  i  or 
2-foot  pitch. — Also  Suf'fidt,  Suh'fldt, 
Weii'pfeife. 


Sight-reader.  A  musician  capable  of 
correctly  performing  a  piece  of  music 
at  sight. 

Signs.  (Compare  Abbreviation,  Nota- 
tion, Segno.)  [Italicized  terms  indicate 
that  the  signs  are  no  longer  in  use.] 

»  Dot.    Staccato.    Sforzato. 

T  Forte  tenuto. 

.'TTT^  Bebung.     Mezzo  staccato. 

""^"'       (See  Dot  3.) 

(under  notes  to  be  sung  to 

°\ one  syllable  ;  in  Tonic 

Sol-fa,  a  line  under  the 

letters). 

^  Hold. 

0    (•  (Notation,  §3.) 

>f  (Abbreviation.) 

•'S'-    ;^:  Presa. 

•%•  -jS:  4  ?     Segno. 

•  •  •    .*.  Double  relish. 


^^'    # 


:ii: 


Double-sharp. 
z    Repeat. 


# 
or  -\- 


Back. 
Pine/, 


^ 


\or/ 


\(\\) 


f 


Repeats  (2  and  4  times). 
Repetition  of  words. 
Thumb  (pfte.-music). 
Double-sharp. 

Breathing-mark. 
fall,  CouU, 
Tremblement. 

Double  Backfall. 

Tenuto.     Pesante. 

Mezzo  legato. 

Bind.     Slur.     Tie. 

Accent.      Coul/.     Port  de 
voix. 

Pine/. 

Tasto  solo. 

Double  Appoggiaiura. 

Suspension. 

Cadent. 

Plain  beat. 

Accent.  Nachschlag.  Por- 
tamento.    Schleifer. 

Chute. 

Port  de  voix. 

Backfall  {Double    Back, 
fall). 

Springer. 

Acciaccatura.     Arpeggio, 


SIGNS. 


179 


/  (//) 


y  //  HI 


> 
I 

A   V  > 

w 


A       V 


w  \w 

n    u 
□ 


A4jfkV 


Single  {Double)  Relish. 
E    (Abbreviations.) 

Crescendo. 

Decrescendo. 

Staccatissimo.  Martellato. 

Forte  piano  (fp). 

Rinforzando. 

Sforzato. 

Up-bow.  Breathing-mark. 
Martellement.  Port  de 
voix.     Aspiration. 

Down-bow  (violoncello- 
music). 

Heel  and  toe  (organ-mu- 
sic; better  as  given  be- 
low). 

Martellement  double  and 
triple. 

Nachschlag. 

Down-bow. 

Pesante. 

Arpeggio.  Aceiaccatnra. 
— In  modern  pfte. -mu- 
sic, signifies  that  2 
notes  so  connected  are 
to  be  played  (<?)  with 
the  same  hand,  {b)  with 
one  finger. — In  vocal 
music,  signifies  voci 
divise: 


Bind. 

Organ-music,  pedal;  notes 
so  connected  are  to  be 
played  with  alternate 
toe  and  heel  of  same 
foot. 

Bind. 

Brace. 

Trill.  All'ottava.  (A 
mark  of  continuation.) 

Balancement.  Tr emble- 
ment. 

Tremblement. 

Arpeggio. 

from  one  staff  to  another, 
shows  ((2)  in  pfte. -mu- 
sic that  notes  so  con- 


•v 


f^ 


nected  are  to  be  played 
with  the  same  hand  ; 
(/')  that  a  part  is  trans- 
ferred from  one  staff  to 
another. 

Direct. 

In'.erted  Mordent.  Ca- 
dence. 

Mordent. 


IT \f^  -Avv  etc.  Trill. 


( 
"^    ('^  2  2)     Turn  {Back-turn). 

#  Take   damper-pedal    (ob- 

solete). 
#   -^    +      Release  damper-pedal. 
Q  Sign  of  the  dimin.   triad 

(e.  g.  VII"). 
O  or  O         Harmonic    mark.      Open 
string. 
O  Tasto  solo  (Thorough-b.). 

Q  Triple   time     (see    Nota- 

tion,  §3). 
(J)  Thur.-.b-positions  (violon- 

cello playing), 
o   A  Heel  and  toe  (organ-mu- 

(or  ^^    V  )         sic).      Over   notes    for 
right  foot,  under  notes 
for  left  foot. 
A  —  V         Change    toes    on    organ- 
pedal. 
A      A  Slide    same    toe   to   next 

note. 
Examples: 
O    A    o 


I J  2,  3,  4,  etc.     (See  Numerals.) 
0,  @,  etc.  (See  Harmonium-music.) 
^,  ^,  ^,  etc.  (See    Chord,    Thorough- 
bass.) 
I  Wr,  IK'      (See  Chord.) 
2'  4'  8'  16'    (See  Foot.) 
a'  b"  c'"] 
a'  b^  c^ 

_  =  E     Vetc.  (See  Pitch,  §1.) 
a  b  c 
A.  B,  Cj 

r  Gamma. 


Iss    A  jlp      (See  Tambourine.) 


M.  M.  J  =  60  (See  Metronome.) 


i8o 


SIGNALHORN— SISTRUM. 


In  organ-music,    signifies    "  change 
hands  on  chord  ". 


In  pfte. -music,  signifies  "  hold  chord 
with  pedal ". 

Signal'horn  (Ger.)    A  bugle. 

Signature.  The  signs  set  at  the  head  of 
the  staff  at  the  beginning  of  a  piece  or 
movement,  indicating  the  key  and 
measure  in  which  it  is  written.  The 
chromatic  sign  or  signs  are  termed  the 
key-signature;  the  figures  or  signs  in- 
dicating the  measure,  the  time-signa- 
ture, or  rhythmical  signature. 

Signatu'ren  (Her.,  pi.)  The  figures  and 
signs  smployed  in  thorough-bass  nota- 
tion. 

Signe  (Fr.)     Sign. 

Sig'nura  (Lat.)  Sign. .  .Signa  impli'cita, 
indicia'liti,  intrin'seca,  see  Notation, 
§3,  Modus, 

Siguidil'la  (Span.)     See  Seguidilla. 

Sil'bendehnung  (Ger.)  Slurring  a  sylla- 
ble, i.  e.  singing  it  to  more  than  one 
tone. 

Silence  (Fr.),  Silen'zio  (It.)  A  rest. 
(Comp.  Pause,  Sottpir.) 

Sillet  (Fr.)  Nut ;  specifically,  petit  sil- 
let,  nut  at  upper  end  of  neck  ;  grand 
sillet,  nut  at  tailpiece. 

Similar  motion.     See  Motion. 

Si'mile  (It.,  "  similarly,  in  like  ma.nner.") 
A  direction  to  perform  the  following 
passage  or  passages  in  the  same  style  as 
a  preceding  similar  passage ;  used  to  save 
the  trouble  of  repeating  phrase-marks 
and  other  signs.  .  .  The  simile-mark  is 
^f  {see  Abbreviation).  \^Simile,hQ- 
■  ''  -  ing  an  adverb,  is  indeclinable, 


and  has  no  plural  form  simili;  the  Lat. 
term  is  similiter.^ 

Simple.  (Of  tones  and  intervals.)  Not 
compound. — (Of  counterpoint,  imita- 
tion, rhythm  etc.)  Not  compound  or 
complex,  undeveloped,  not  varied. 

Sin'  (It.)     Abbr.  of  Sino. 

Sinfoni'a  (It.)  r.  A  symphony. — 2.  An 
overture  (to  the  earlier  Italian  operas). 

Sinfonie'  (Ger.)  Symphony  (usually 
Syinphonie'). 

Sing'akademie  (Ger.)  A  choral  sing- 
ing-society. 

Sing'bar  (Ger.)     Singable  ;  cantabile . . . 

Sehr  singhar  vor'zicfragen,  perform  in 

a  very  singing  style. 
Sing'end    (Ger.)       Singing,    melodious, 

cantabile, 

Sing'etanz  (Ger.)     Dance  accomp.  with 

song. 
Sing'fuge  (Ger.)     Vocal  fugue. 
Singhiozzan'do(It.)     Sobbingly,  catch. 

ing  the  breath. 

Sing'manieren  (Ger.,  pi.)  Vocal  graces. 
Sing'schule  (Ger.)     Singing-school. 

Sing'spiel  (Ger.)  The  German  national 
form  of  the  opera,  established  during 
the  2nd  half  of  the  i8th  century  by  J. 
A.  Ililler,  whose  guiding  rule  was  to 
give  simple,  folk-songlike  melodies  to 
singers  representing  plain  characters, 
whereas  to  "  gentlefolk"  he  gave  arias; 
the  instrumental  accomp.  is  also  kept 
subordinate  to  the  vocal  parts. — The 
term  is  also  used  for  any  light  opera  or 
operetta  with  spoken  interludes  ;  like- 
wise, by  extension,  for  more  preten- 
tious operas  and  mus.  dramas. 

Sing'stimme  (Ger.)  The  singing-voice, 
the  voice. 

Sini'stra  (It.)  Left ;  mano  s.,  left  hand; 
colla  s.,  with  the  left  hand. 

Sink-a-pace.     See  Cinque-pace. 

Si'no  (It.)  To,  up  to,  as  far  as,  till ;  sino 
(or  sin)  al  fine,  to  the  end. 

Si'ren.  (Ger.  Sire'ne;  Fr.  sirhte.)  An 
acoustical  apparatus  for  determining  the 
vibration-number  of  a  given  tone. 

Sir  Roger  de  Coverley.  An  ancient 
English  dance-tune  in  9-4  time,  still  in 
vogue  as  a  country-dance. 

Siste'ma  (It.)    Staff. 

Sis'trum  (Lat.)  An  ancient  mus.  instr. 
of  Egypt  and  the  East :  a  sort  of  rattle, 


SITOLE— SNARE-DRUM. 


i8i 


consisting  of  loose  metal  rods  set  in  an 
oval  frame,  and  shaken  by  a  handle. 

Sitole.     See  Cilole. 

Sitz  (Ger.)     Seat  ;  situation,  place. 

Sixi^me,  Sixte  (Fr.)  Sixth  ;  sixte 
ajout^e,  added  sixth. 

Sixteenth-note.  (Ger.  Sech'zehntel 
\-note\;  Fr.  dotibh-croche;  It.  semicro'- 
ma.)  A  semiquaver  (^).  Sometimes 
abbr.  to  Sixteenth.  . .  ibth-rest,  a  semi- 
quaver-rest (^).     Comp.  Note,  Rest. 

Sixth.  (Ger.  Sex'te;  Fr.  sixte;  It. 
se' sta^  See  Interval.  . .  Chord  of  the 
sixth,  first  inversion  of  a  triad. . .  Chord 
of  the  added  sixth  (Fr.  accord  de  la 
sixte  ajoiite'e),  the  sub- 
dominant  triad  with 
sixth  added,  e.  g.  : 
. . .  Chord  of  the  extreme  sixth,  see  Ex- 
treme. 

Sixtine  (Fr.)     Sextuplet. 

Sixty-fourth-note.  (Ger.  Vierund- 
sech'zigstel  [-note^;  Fr.  quadruple 
croche;    It.    quattricro'ma.)     A   hemi- 

demisemiquaver  (g);  sometimes  abbr. 

to  Sixty-fourth. .  .d^th-rest,  f  a  j. 

Skip.     (Ger.  Sprung/  Fr.  saut;  It.  sal'- 


wntten: 


to.)     Melodic  progression  by  an  inter- 
val wider  than  a  second  ;  disjunct  (or 
discrete)  progression. 
Skiz'ze  (Ger.)     Sketch  ;  a  short  charac- 
teristic   piece,    or   bit   of   salon-music, 
without  fixed  form. 
Slan'cio,  con    (It.)     With    vehemence, 
impetuously.    (Sometimes  written  islan- 
cio,  for  the  sake  of  euphony.) 
Slargan'do,  Slargan'dosi  (It.)     Grow- 
ing slower  ;  comp.  Largando. 
Slentan'do  (It.)    See  Slargando. 
Slide.     I.     A  movable  U-shaped  tube  in 
the  trombone  (sometimes  in  the  trumpet 
and  French  horn),  which  is  pushed  in 
and  out  to  alter  the  pitch  of  the  tones 
while    playing.     It  is    a    more   perfect 
device  than  the  valve,  because  it  changes 
only,  the   length  of   the  vibrating   air- 
column,  not  the  direction  and   form  of 
the  wind-current  ;  and  also  because  per- 
fect purity  of  pitch  is  obtainable  [comp., 
however,  art.   Trumpet,  last  sentence]; 
but  it  is  technically   more    difficult    of 
manipulation. — 2.       In    the    organ,    a 
slider. — 3.     A  grace    (Ger.   Schlei'fer; 
Fr.  coule),  either  {a)  a  diatonic  series 
of  2  or  more  tones  rapidly  ascending  or 
descending,  the  notation  of  which  varies 
greatly  : 


played: 


or  {b)  a  portamento. 

Slide-horn.     See  Slide-trumpet. 

Slider.     See  Organ,  (i). 

Slide-trombone, -trumpet.  One  played 
by  the  use  of  a  slide  instead  of  keys  or 
valves. 

Sliding  relish.  An  old  harpsichord- 
grace  written  :  played : 


Slissa'to  (It.)    Slurred 

Slur.  I.  (Ger.  Lega'tohogen;  Fr.  liaison; 
It.  legatu'ra.)  A  sweeping  curve  drawn 
over  or  under  2  or  more  notes,  signify- 
ing that  they  are  to  be  executed  legato. 
— 2.  In  vocal  music,  the  slur  unites  2 
or  more  notes  to  be  sung  to  the  same 
syllable  and  in  one  breath  ;   the  notes 


so  sung  are  also  called  a  slur .  . .  Slurred 
melody,  one  in  which  2  or  more  tones 
are  sung  to  one  syllable  ;  opp.  to  sylla- 
bic melody. 
Small   octave.     See  Pitch . . .  Small  or. 

chestra,  see  Orchestra. 
Smanian'te,    Smanio'so  (It.)     In   an 

impetuous,  passionate  style. 
Sminuen'do,    Sminui'to    (It.)     Dimin- 
ishing  and   decreasing   (in   speed   and 
force). 
Smoren'do  (It.)     Dying  away. 
Smorfio'so  (It.)  With  affected  expression. 
Smorzan'do    (It.)       "Fading     away"; 

equiv.  to  Morendo. 
Snap.     See  Scotch  snap. 
Snare-drum.      See     Side-drum,    under 
Drum. 


SOAVE— SOLMISATION. 


Soa've  (It.)  Suave,  sweet,  soft.  . .  Soazw- 
men'te,  suavely,  etc. 

Socket.  In  a  clarinet,  the  short,  rounded 
joint  connecting  the  mouthpiece  with 
the  "  top-joint". 

Sogget'to  (It.)  Subject,  theme. — This 
term  is  properly  applied  to  a  homogene- 
ous theme  of  moderate  length,  a  longer 
one  being  called  an  anJanicnlo,  and  a 
short,  motive-like  theme  an  attacco 
(though  this  last  term  is  practically  ob- 
solete). 

Sognan'do  (It.)  Dreaming,  in  a  dreamy 
manner. 

Soh.  For  sol,  in  the  Tonic  Sol-fa  sys- 
tem. 

Sol.  I.  The  fifth  of  the  Aretinian  sylla- 
bles.— 2.  Name  of  the  note  6" in  France, 
Italy,  etc. 

Solem'nis  (Lat.)     Solemn. 

Solen'ne  (It.)  Solemn  ;  splendid,  pom- 
pous. . .  Solennemen'te,  solemnly,  etc .  . . 
Solennita' ,  solemnity,  pomp. 

Solfa'  (It.)  I.  Scale,  gamut. — 2.  Music 
in  general  ;  hat' fere  la  solfa,  to  beat 
time. — 3.  A  conductor's  baton. 

Sol-fa  (Engl.)  I  (verb).  To  sing  sol- 
feggi; specifically,  to  sing  to  the  sol- 
misation-syllables. — 2  {noun).  Solmisa- 
tion,  and  the  syllables  employed  in  it  ; 
a  solfeggio  on  those  syllables. —  Tonic 
Sol-fa,  see    Tonic. 

Solfeggia're  (It.)     To  sol-fa. 

Solfeg'gio  (It.,  pi.  solfeg'gi;  Fr.  solfcge.) 
A  vocal  exercise,  either  on  one  vowel, 
or  the  syllables  of  solmisation,  or  to 
words. 

Solid  chord.     One  the   tones  of  which 


are  performed  simultaneously ;  opp.  to 
brokeji.     {''Flat  chord"  is  preferable.) 

So'lito  (It.)  Accustomed,  habitual... 
A I  soli  to,  as  usual,  in  the  customary 
manner. 

Solmisation.  A  method  of  teaching  the 
scales  and  intervals  by  syllables,  the  in- 
vention of  which  is  ascribed  to  Guido 
d'Arezzo  (b.  990  ?).  It  is  based,  in 
opposition  to  the  Greek  theory  of  tetra- 
chords,  on  the  hexachord  or  6-tone 
scale  ;  the  first  six  tones  of  the  natural 
major  scale,  c  d  e  f  g  a,  were  named 
itt,  re,  mi,  fa,  sol,  la,  (the  initial  syl- 
lables of  the  successive  phrases  of  a 
hymn  to  St.  John  beginning  Ut  queant 
laxis,  these  syllables  happening  to  fall 
on  these  6  tones),  forming  the  natural 
hexachord  {hcxacho)-'diim  natttra'le) 
with  the  semitonic  step  at  mi-fa;  the 
syllables  were  further  applied  to  2 
other  hexachords,  the  hard  hexachord 
{hex.  du'runi)  g  a  b  c  d  e  (so  called  be- 
cause constructed  with  the  hard  B  =: 
j^Q  or  B  durum),  and  the  soft  hexa- 
chord {hex.  mol'le)  f  g  a  b\)  c  d  (with 
the  soft  B  =  'S>\)  ov  B  mollc);  in  each, 
the  step  mi-fa  was  in  the  same  relative 
position.  The  entire  mus.  scale,  ex- 
tended beyond  that  of  Greek  theory  by 
adding  I  tone  below  (Gamma  F  =  6^), 
and  4  above,  embraced  7  hexachords, 
the  higher  ones  being  mere  reduplica- 
tions of  the  original  3.  In  the  follow- 
ing View,  the  solmisation-names  of  the 
notes  will  be  found  by  reading  up  from 
(and  including)  the  letter-name  ;  thus 
low  G  was  called  Gamma-ut,  its  octave 
G  sol  re  ut,  and  its  double-octave  like- 
wise G  sol  re  ut;  B,  however,  was 
called  only  B  fa  ox  B  mi,  according  as 
it  occurred  in  the  soft  or  hard  hexa- 
chord. 


View  of  the  Guidonian  Hexachords. 


Modern  letter-name 


Medieval 


VII 

.  H 

ex. 

durum 

with  B 

mi) 

ut 

re 

mi 

fa 

sol 

la 

VI.  Hex.  moUe  (wit 
V.  Hex.  naturale  ut 

hB 

re 

fa) 

mi 

ut 
fa 

re 

sol 

mi 

fa 

sol 

ii 

IV.  Hex.  durum  (with  B  mi) 
III.  Hex.  molle  (with  B  fa)  ut 

ut 
re 

re 
mi 

mi 

71 

fa 
soT 

sol 
la 

la 

I.  Hex.  naturale  ut  1  re 

mi 

fa 

la 

lurum  ut 

re  Imi 

fa 

sol 

la 

ime        G 

A  I  B 

c 

jd_ 

e 

J_ 

g 

a 

b 

c' 

dl_ 

el 

f» 

iL 

aJ 

b» 

c" 

ii 

^ 

r 

A     t] 

c 

D 

E 

F 

G 

a 

\ 

c 

d 

e 

f 

g 

aa 

bl7 

cc 

dd 

ee 

When  a  melody  overstepped  the  com- 
pass of  one  hexachord,  a  transition, 
termed  a  tnutation,  was  made  from  one 


set  of  syllables  to  another  ;  the  change 
of  syllables  was  preferably  effected  be- 
tween the  natural  and  soft,  or  natural 


SOLO— SONG. 


183 


and  hard,  hexachords  (a  direct  transi- 
tion from  hard  to  soft,  or  vice  versa, 
being  less  smooth  because  of  the  clash- 
ing significance  of  Br)  and  -fi't]),  and 
usually  after  fa  {so/  —  re)  in  ascending 
and  after  ini  {re  —  hi)  in  descending. 
These  mutations  exhibit  a  dawning  of 
the  modern  idea  of  modulation,  the 
final  victory  of  which,  in  establishing 
the  major  and  minor  modes  and  freely 
transposable  scales,  disposed  of  the 
system  of  hexachords. — IJuring  the 
supremacy  of  the  medieval  modes,  this 
system  sufficed  for  the  composer's 
needs  ;  but  after  the  recognition  of  the 
leading-note,  and  the  general  adoption 
of  a  corresponding  7th  syllable  si  early 
in  the  17th  century,  the  modern  7-tone 
scale,  or  heptachord,  gradually  super- 
seded the  hexachord  in  theory  and 
practice.  Many  proposed  changes  in 
the  syllable-names  met  with  merely 
local  and  transient  favor;  among  them, 
those  of  Waelrant  of  Antwerp  in  1550 
(bo,  ce,  di,  ga,  lo,  ma,  ni),  called  Bo- 
cedisation  or  Bohisatioit),  Pedro  d' U- 
renna  in  1620  (ni  for  si),  Hitzler  of 
Stuttgart  in  1628  (la,  be,  ce,  de,  me, 
fe,  ge,  called  Behisation),  Graun  in 
1750  (da,  me,  ni,  po,  tu,  la,  be, 
called  Damenisation).  In  Italy,  and 
afterwards  in  all  Europe  excepting 
France,  the  syllable  do  (presumably 
first  used  in  1673,  by  Bononcini)  has 
ousted  the  original  2{t  (comp.  Do).  In 
both  France  and  Italy  the  syllables 
have,  in  eveiyday  usage,  quite  sup- 
planted the  letter-names  of  the  notes, 
which  are  employed  in  Germany,  Hol- 
land, England,  and  the  United  States. 
So'lo  (It.,  "alone".)  Properly,  a  piece 
or  passage  for  a  single  voice  or  instr. ; 
by  extension,  any  non-concerted  piece 
or  passage  in  which  a  single  voice  or 
instr.  predominates.  As  an  orchestral 
direction,  Solo  (or  simply  I)  marks  a 
passage  where  one  instr.  (ist  violin,  ist 
flute,  etc.)  takes  a  leading  part. — In  a 
2-hand  arr.  of  a  pfte. -concerto.  Solo 
marks  the  entrances  of  the  solo  pfte. 
—  Violino  solo  signifies,  according  to 
circumstances,  either  "violin  alone", 
or  "  1st  violin  "  (accompanied). —  Solo 
organ,  see  Organ.  .  .  Solo  pitch,  a  scor- 
datura  temporarily  employed  by  a  solo 
player  for  obtaining  unusual  effects. . . 
Solo  quartet,  {a)  a  quartet  consisting  of 
4  singers  (4  "solo  voices");  (/')  a  com- 
position or  passage  in  4  parts  for  4 
singers ;  (c)  a  non-concerted  composi- 


tion for  4  instr.s,  one  of  which  has  a 
leading  part. . .  Solo  stop,  see  Stop. 
So'losanger   (Ger.)     A   solo   singer.. 
So'lospielcr,  a  solo  "^Xdc^^x . .  .  So' lostinu 
vie,  a  solo  part  or  voice. 

Sombrer  (Fr.)  In  vocal  music,  to  give 
to  the  tones,  for  dramatic  effect,  a 
sombre,  veiled,  yet  intense  expression. 

Som'ma  (It.)  Utmost,  highest,  extreme; 
greatest. 

Som'merophone.  An  instr.  of  the 
bombardon  or  saxhorn  class,  inv.  by 
Sommer  of  ^Yeimar  in  1843;  also  called 
Euphonion,  Euphonic  Horn. 

Sommier  (Fr.)     Windchest. 

Son  (Fr.)  Sound  ;  tone. .  .  Son  harrnoni- 
que,  an  harmonic  ;  son  plein,  a  round, 
full  tone. 

Sona'bile  (It.)     Resonant,  sounding. 

Sonan'te  (It.)  Sounding,  resounding  ; 
sonorous,  resonant. 

SoLa're  (It.)  To  sound  ;  to  play  (on  an 
instr.). . .  Sonar e  alia  nien'te,  to  impro- 
vise. 

Sona'ta  (It.;  Fr.  and  Ger.  Sona'te.)  The 
original  Italian  word,  suona'ta,  meant 
any  instrumental  "sound-piece"  in 
contradistinction  to  a  canta' ta  (vocal 
composition).  The  old  sonata  da 
camera  and  sonata  da  chiesa  were  such 
instrumental  pieces,  for  secular  and 
sacred  use  respectively. — The  modern 
Sonata  (comp.  Form)  is  an  instrument- 
al composition  in  3  or  4  extended  move- 
ments contrasted  in  theme,  tempo,  and 
mood.  ..  Sonata-f or  ??i,  see  Eorm... 
Double  sonata,  a  duo  for  2  solo  instr.s, 
in  sonata-form. 

Sonatil'la  (It.)     A  short,  easy  sonata. 

Sonati'na  (It.),  Sonati'ne  (Fr.  and 
Ger.)  A  short  sonata  in  2  or  3  (seldom 
4)  movements,  the  first  having  the 
characteristic  first-movement  form, 
though  the  development-section  is 
either  very  short,  or  quite  omitted. 

Sonato're  (It.)     A  player  on  any  instr. 

Sone'vole  (It.)     Same  as  Sonabile. 

Song.  I.  (Ger.  Gesang;  Fr.  chant;  It. 
can'to.)  Vocal  musical  expression  or 
utterance. — 2.  (Ger.  Lied;  Fr.  chanson; 
It.  canzo'ne.)  A  short  lyrical  or  narra- 
tive poem  with  a  musical  setting  char- 
acterized by  a  structure  in  simple 
periods.  Songs  may  be  divided,  ac- 
cording as  they  are  classed  as  spon- 
taneous popular  productions  or  the  re- 


1 84 


SONNANTE— SOSPIRANDO. 


suit  of  artistic  inspiration,  in  2  broad 
groups, /o/^-soHifs and  ari-songs,  though 
the  former  were  doubtless  originally 
conceived  by  specially  gifted  singers  of 
earlier  times,  and  the  latter  are  fre- 
quently written  with  studied  simplicity 
{volks'thiimlich).  Further,  art-songs 
are  either  strophic  (i.e.  each  strophe 
sung  to  the  same  tune,  with  a  deviation 
at  most  in  the  final  one),  or  composed- 
through  (see  Durch'  komponiereii). — 
The  so-called  song-form  (Ger.  Lied'- 
forf/t),  either  vocal  or  instrumental,  has 
3  sections  and  2  themes,  the  second 
contrasting  theme  occupying  the  2nd 
section.     (See  Form.) 

Sonnante  (Fr.)  Same  as  Stahlspiel,  or 
Lyre  2. — The  steel  bars  arc  sometimes 
replaced  by  fixed  bells. 

Sonner  le  tambour  (Fr.,  "  to  beat  the 
drum  "  ;  also  rouler.)  Said  of  the  G- 
string  on  a  'cello  when  a  jarring  sound 
is  given  out  on  playing  certain  notes. 

Sonnerie  (Fr.)  i.  Same  as  Carillon 
(peal  or  chime  of  bells). — 2.  A  military 
call  or  signal. 

So'no  (It.)     Sound  ;   tone.  • 

Sonom'eter.     An  apparatus  for  acoustic 

experiments  with  strings,  consisting  of 

a  sounding-board  provided  with  bridges 

over  which  2  strings  may  be  stretched. 

Sonoramen'te  (It  )  Sonorously,  reso- 
nantly, resoundingly. 

Sono'ro  (It.)  With  a  sonorous,  ringing 
tone. .  .Sonora men' le,  sonorously,  res- 
onantly, resoundingly.  . .  Sonoriid' ,  eon, 
sonorously,  ringingly.  .  .Sono're,  sono- 
rous, resonant  (pi.;  le  note  implied). 

Sonor'ophone.  A  variety  of  bombardon. 

So'nus  (Lat.)     Sound  ;   tone. 

So'pra  (It.)  On,  upon ;  above,  over, 
higher.  .  .  Sopradominan' te,  dominant. 
. .  Soprato' niea  .smperionlc. .  .  Sopra  una 
corda,  on  one  string.  .  .Co'me  sopra,  as 
above. .  .AV//(Z  parte  di  sopra,  in  the 
higher  (or  highest)  part. 

Sopran'  (Ger.)  Sopra.no.  .  .Sopra n'- 
sc  Mussel,  treble-clef.  . .  Sopran' stimme, 
soprano  voice  or  part. 

Sopra'na  corda  (It.)  The  chanterelle. 
(St.  and  B.) 

Soprani'sta  (It.)  A  soprano  singer ; 
specifically,  a  male  soprano  {castra'lo). 

Sopra'no  (It.;  Ger.  Sopran' ;¥r.dessus.) 
The  highest  class  or  division  of  the 
human  voice. — The  female  soprano,  or 


ireuie,  uas  au 


treble,  has  a  normal  compass  from  c^  to  a' 
all  tones  of  which,  ex- 
cept   t.'^e  extremes,  are 
_  common    to    both    the 

chest-register  and  head-register  ;  solo 
voices  often  reach  above  c'',  and  pheno- 
menal ones  up  to  g^  or  even  e*.  There 
are  also  boy-soprani,  and  male  soprani 
(of  these  latter  2  classes,  the  falsetti 
[alti  natura'li,  tenor i'ni],  and  castra'- 
ti). — Soprano  dramma'tico,  a  female 
soprano  of  dramatic  pov;eT ...  Soprano 
leggie'ro,  a  light  soprano. .  .i)/e'J2(7- 
soprano,  see  Jllezzo.  . .  Soprano  nature' - 
le,  natural  soprano,  a  male  singer 
having  an  unusually  developed  falsetto 
of  soprano  quality. .  .  Soprano  sfoga'to, 
see  Sfogato . . .  Soprano-elef,  Xhc  C-clef 
on  the  first  WnQ. ..  Soprano  string,  the 
chanterelle. 

Sordamen'te  (It.)  With  a  veiled,  muf- 
fled tone. 

Sordelli'na  (It.)  An  Italian  variety  of 
the  musette  (bagpipe),  provided  with  4 
pipes  which  could  be  opened  and  closed 
at  will. 

Sordi'no  (It.,  pi.  sordini/  Ger.  pi.  Sordi'- 
7! en.)  I.  A  mute  ;  con  sordini,  with 
the  mutes  ;  senza  sordini,  without  the 
mutes;  si  U'lhino  i  sordini,  take  off  the 
mutes. — 2.  Damper(of  thepfte.);  senza 
sordini,  with  damper-pedal  ;  so  used  by 
Beethoven,  who  employed  con  sordini 
to  express  the  release  (raising)  of  the 
damper-pedal,  instead  of  "5^ . — 3.  A  kit. 

Sor'do,-a  (It.)  Muted ;  as  clarinetto 
sordo,  tromba  sorda. 

Sordo'no  (It.;  Ger.  Sordun';  Fr.  sor- 
done.)  I.  An  obs.  wood-wind  instr.  re- 
sembling the  bombard,  with  a  double 
reed  and  12  ventages,  constructed  like  a 
bassoon,  and  in  5  different  sizes. — 2. 
An  obs.  reed-stop  in  the  organ,  with  a 
perforated  foot  and  a  chimney,  of  4,  8, 
or  16-foot  pitch  and  muffled  tone. 

Sordun'  (Ger.)  See  Sordono. — Also,  a 
mute  for  the  trumpet,  in  the  shape  of  a 
perforated  disk  of  wood. 

Sorg'faltig  (Ger.)  Careful,  cautious. 
(Also  adverb.) 

Sorti'ta  (It.)  I.  A  closing  voluntary. 
— 2.  The  first  number  sung  by  any  of 
the  leading  characters  in  an  opera. 

Sospiran'do  (It.,  "sighing,  sobbing".) 
A  vocal  effect  produced  by  interposing 
a  rest  between  two  tones  in  such  a  way 
as  to  interrupt  a  word  of    2   or   more 


SOSPIREVOLE— SPIEL. 


185 


syllables,  the  singer  catching  his  breath 
as  if  deeply  moved. 

Sospire'vole,  Sospiro'so  (It.)  Sighing 
deeply  ;  plaintive,  mournful. 

Sostenen'do,  Sostenen'te  (It.)  See 
Sostcnu'  io, 

>Sostenu'to  (It.,  abbr.  sost.;  superl.  so- 
steiiHti/ simo.)  "Sustained,  prolonged"; 
sometimes  implying  a  tenuto,  at  others 
a  uniform  rate  of  decreased  speed  ;  e.g. 
andiiiite  sostenuto.  .  .Pin  sostcniiio, 
equiv.  to  ttteno  »iosso.—':^i2Lr\d\ng  alone, 
as  a  tempo-mark,  it  is  nearly  equiv.  to 
andante. 

Sostinente  pianoforte.  A  pfte.  in  which 
some  device  is  employed  for  "sustain- 
ing" or  prolonging  the  tones,  such  as 
the  numerous  piano-violins,  the  lyri- 
chord,  celestina,  claviol,  etc. 

Sot'to  (It.)  Below,  under.  .  .  Sottovoce, 
in  an  undertone,  asido..  . .  Sottodomi- 
7ian'ti\  subdominant. 

Soubasse  (Fr.)     Subbass. 

Soubrette  (Fr.)  In  comedy  and  comic 
opera,  a  maid-servant  or  lady's-maid, 
of  an  intriguing  and  coquettish  charac- 
ter ;  applied,  by  extension,  to  various 
light  roles  of  this  or  a  similar  type. 

Soufflet  (Fr.)  The  bellows  (of  an  organ, 
harmonium,  etc.)...So!ifflt-r,  to  blow. 
. .  Sonfflcrie,  the  bellows  with  all  ad- 
juncts. . .  Soiifflctir,  (a)  organ-blower  ; 
((^)  prompter  (fem.  soiiffleuse). 

Sound.     See  Acoustics. 

Soundboard,  i.  (Ger.  Resonan:fboden; 
Fr.  table  d' haj-monie;  It.  ta'vola  armo'- 
nica^  The  thin  plate  of  wood  placed 
below  or  behind  the  strings  of  various 
instr.s,  to  reinforce  and  prolong  their 
tones  by  reflecting  them  from  its  broader 
surface  by  means  of  molecular  vibration. 
The  s.  of  the  pfte.  is  sometimes,  that 
of  the  violin  generally,  called  the  belly. 
— 2.  (Ger.  Pfeifenstock;  Fr.  pied  dii 
tamis  d" orotic;  It.  casso'ite.)  In  the 
organ,  the  cover  of  the  windchest,  in 
which  the  feet  of  the  pipes  are  inserted. 

Sound-body,  Sound-box.  .Same  as 
Resonance-box ...  So!ind-f)07v,  the  thick 
rim  of  a  bell,  against  which  the  clapper 
strikes . . .  Sound-hole,  a  hole  cut  in  the 
belly  of  a  stringed  instr.  to  enhance  the 
r&?>ona.nce.  .  .Sati?tdpost.  ((jer.  See'le, 
Stitnm' stock;  Fr.  dme;  It.  a'nima.)  In 
the  violin,  etc.,  the  small  cylindrical 
wooden  prop  set  inside  the  body,  be- 
tween belly  and  back,  just  behind  (near- 


ly beneath)  the  treble  foot  of  the  bridge. 
Its  function  is  not  only  to  brace  the 
belly  against  the  strong  string-tension, 
but  also  to  transmit  the  vibration  of  the 
strings  from  belly  to  back,  thus  render- 
ing the  whole  body  of  the  instr.  reso- 
nant. 

Soupape  (Fr.)     Valve. 

Soupir  (Fr.)  A  quarter-rest. .  .Z>c'w/- 
soupir,  an  eighth-rest.  .  .///«7/^;«^  «/^ 
soupir  (or  denii-quart  de  soupir), 
2,2nA-x^sX.. .  .Quart  de  soupir,  a  l6th- 
rest . . .  Seizieme  de  soupir,  a   64th-rest. 

Sourdeline  (Fr.)     Same  as  Sordellina. 

Sourdine  (Fr.)  i.  A  mute. — 2.  A  stop 
ill  tTie  haritronium,  which  partially  in- 
tercepts the  wind-supply,  so  that  full 
chords  can  be  played  softly. — 3.  Same 
a.s  f^e'dale  celeste  (of  the  pfte.) — 4.  For- 
merly, a  spinet  (or  lute)  of  veiled,  muf- 
fled tone. 

Sous  (Fr.)  \]nder,he\o\\'. .  .Sous-chan- 
tre,  suhcantor. . .  Sous-domiftante,  sub- 
dominant.  .  .Sous-w/diante,  submedi- 
a.nt. . .  .S'ous-tonique,  subtonic,  leading- 
note. 

Space.  (Ger.  Z'coisch' enraum ;  Fr.  es- 
pace;  It.  spa'zio.)  In  the  staff,  the  in- 
terval between  2  lines  or  leger-lines. 
(See  Leger-space.) 

Spal'la  (It.)  Shoulder. . .  Vio'la  da  spal- 
la,  see   Viola. 

Spa'nischer  Rei'ter  (Ger.)  See  Durch- 
s  tec  her .  . .  Spanisches  Kreuz,  sign  (  x  ) 
of  the  double-sharp. 

Spar'ta,  Sparti'ta,  Sparti'to  (It.), 
Spar'te  (Ger.)     A  partitura. 

Sparti're  (It.)  To  write  out  in  score. — 
The  Ger.  form  spartie'ren  signifies,  to 
copy  out  old  scores  into  modern  nota- 
tion. 

Spassapensie'ro  (It.)     A  jew's-harp. 

Spass'haft  (Ger.)     Scherzando. 

Spa'tium  (Lat.),  Spa'zio  (It.)  A  space. 

Sperr'ventil  (Ger.)     See  Ventil  2. 

Spezza'to  (It.)     Divided. 

Spiana'to,-a  (It.,  "leveled".)  Smooth, 
even,  tranquil ;  nearly  equiv.  to  senza 
passione. 

Spicca'to(It.,  "  separated".)  See  Spring- 
ifig  bo  TV. 

Spiel  (Ger.)  Playing  ;  style  (of  playing). 
. .  Spiel' art,  (<?)  style  or  method  of  play- 
ing ;  (''')  touch  (of  a  keyboard  instr.). 
.  .  Spiel'bar,    handy    to    play    (on    vio- 


I86 


SPINA— STANZA. 


lin);  playable  (as  a  passage  or  piece). 
. .  Spie'ien,  to  play  ;  Spie  ler,  player.  .  . 
Spiel' Ictiie,  {a)  wandering  fiddlers,  etc., 
of  the  middle  ages  ;  (/')  the  drummers 
and  fifers  of  a  military  band  ;  opn.  to 
Hautbois'icn. .  .  Spiel' /naniereii,  instru- 
mental graces. .  .  Spiel' opfr,  light  opera, 
comic  ojiera .  .  .  Spiel' tenor ,  light  tenor, 
as  for  comic  opera  or  operetta. 

Spi'na  (Lat.)     Quill  (of  a  spinet). 

Spin'et.  (It.  spinet'/a;  Fr.  tpinetle; 
Ger.  Spinett'.)  An  obs.  keyboard  instr. 
like  a  harpischord,  but  smaller.  Also 
called  Virginal  {pair  of  Virginals), 
and  Couched  Harp. 

Spi'rito,  con  (It.)  With  spirit.  Also 
spiritosamen'te,  spirito'so,  with  anima- 
tion and  energy. 

Spit'ze  (Ger.)  i.  Point  (of  the  bow). 
Often  abbr.  Sp. — 2.  Toe  (in  organ- 
playing). 

Spitz'flbte  (Ger.)  In  the  organ,  an  open 
flue-stop  of  organ-metal,  tin,  or  wood, 
of  8,  4,  2,  and  i-foot  pitch  ;  tone  some- 
what thin,  but  pure  and  reedy.  The 
pipes  are  conical,  whence  the  name. 
(Also  Spill'fldte,  Spin'deljldte;  Lat. 
ti'bia  cus'pida.) 

Spitz'harfe  (Ger  ;  It.  arpanet'la)  A 
small  triangular  harp  (psaltery)  to  be 
set  on  a  table  ;  it  had  an  upright  sound- 
board with  strings  on  both  sides  of  it, 
the  bass  strings  on  one  side  and  the 
treble  strings  on  the  other.  Also  called 
Harfenett' ,  Flii'gelharfe,  Zwit'scher- 
harfe.     [RiEMANN.] 

Spitz'quint  (Ger.)  The  quint  of  the 
Spitzjldte. 

Spon'dee.  A  metrical  foot  consisting  of 
2  long  syllables  ( ). 

Spread  harmony.     See  Harmony. 

Springing  bow.  In  violin-playing,  a 
style  of  bowing  in  which  the  bow  is  al- 
lowed to  drop  on  the  string,  its  elasti- 
city then  causing  it  to  rebound  and  quit 
the  string  between  each  two  tones. 
There  are  2  varieties  :  (i)  the  Spicca'to, 
indicated  by  dots  over  the  notes,  and 
played  near  the  middle  of  the  bow  with 
a  loose  wrist,  for  rapid  passages  in 
equal  notes  : — (2)  the  Salta'to,  with  a 
longer  fall  and  higher  rebound,  gener- 
ally employed  when  several  equal  notes 
are  to  be  taken  in  one  bow. 

Sprung  (Ger.)  A  skip,  a  leap  ;  sprung- 
iveise,  by  skips  or  leaps. 

Square  pianoforte.     See  Pianoforte. 


Squillan'te  (It.,  from  squil'la,  a  little 
bell.)     Ringing,  tinkling. 

Sta'bat  Ma'ter.     See  Sequence. 

Sta'bile  (It.)     Steady,  firm. 

Stacca're  (It.)     To  make  staccato. 

Stacca'to  (It.;  superl.  staccatis'simo; 
abbr.  stacc.)  "  Detached,  separated"; 
noting  a  style  in  which  the  tones  played 
or  sung  are  more  or  less  abruptly  dis- 
connected. The  ordinary  staccato  is 
marked  by  round  dots  over  or  under 
the  notes  ;  a  sharper  staccato,  by  wedge- 
shaped  dashes  (the  marteU  of  violin- 
playing);  the  mezzo-staccato,  in  which 
the  tones  are  nearly  run  together,  has  a 
slur  over  the  staccato-dots. —  Staccato- 
mark,  a  dot  or  wedge-shaped  stroke. 

Stadt'musikanten,  -pfeifer,  -zinke- 
nisten  (Ger. ,  pi.)  Salaried  town-musi- 
cians, belonging  to  a  privileged  guild 
which  originated  in  the  15th  (?)  century, 
and  under  obligations  to  furnish  music 
for  civic  ceremonies  ;  their  leader  had 
the  title  of  Sladt'musiktts,  {JsX's,o  Amts'- 
pfeifer,  Kunst' pfeifer.) 

Staff,  Stave.  (Ger.  Li'nietisystem,  Sys- 
tem'; Yr.  portee;  It.  ri'go.)  The  5  (in 
Gregorian  music  4)  parallel  horizontal 
lines  used  in  musical  notation. . .  Grand 
or  Great  staff,  one  of  11  lines,  middle- 
C  occupying  the  si.Kth . .  .  Staff-notation, 
the  staff  and  the  system  of  musical 
signs  connected  with  it  ;  OYip.to  Alp /la- 
bel ical  notation  (q.  v.).  Compare  Nota- 
tion. 

Stagio'ne  (It.)     Season. 

Stahrharmonika  (Ger.)  An  instr.  con- 
sisting of  small  steel  bars  caused  to 
sound  by  diminutive  bows ;  inv.  by 
Nobe  in  1796. . .  Stahlf  spiel,  see  Lyre  2. 

Stamentienpfeife  (Ger.)     See  Schwegel. 

Stamm'akkord  (Ger.)  Any  chord  of  a 
key,  in  its  fundamental  position  ;  also 
sometimes  denotes  any  fundamental  or 
inverted  chord  belonging  to  the  given 
key,  i.  e.  any  chord  not  altered  or  sus- 
pended. . .  Stamm'ton,  natural  tone. . . 
Stamm'tonleiter,  the  typical  diatonic 
scale  of  C-major. 

Stampi'ta  (It.)  A  song  with  instrumen- 
tal accomp. 

Stand'chen  (Ger.)     A  serenade. 

Stanghet'ta(It.)     Bar, 

Stan'za  (It. ;  Fr.  stance;  Ger.  Stan'ze.^ 
A  group  of  more  than  2  lines,  arranged 
according  to  a  regular  plan  as  regards 


STAPLE— STOP. 


187 


cither  metrical  length,  or  rhyme,  or 
both,  and  forming,  in  connection  with 
similar  groups,  a  poem,  or  a  part  of  one. 

Staple.  In  the  oboe,  etc.,  tsie  metallic 
tube  which  carries  the  double-reed,  and 
conveys  the  vibr.  of  the  latter  to  the 
body  of  the  instr. 

Stark  (Ger.)  Loud,  forcible,  vigorous  ; 
forte.  {S\%o adverb.).  .  Star  ker ,\owil<tx , 
stronger;  piu  forte. 

Stave.     See  Staff. 

Steam-organ.     The  Calliope. 

Stec'ca  (It.)  A  vicious  vocal  effect, — 
the  choked  or  interrupted  tone  caused 
by  pressing  the  root  of  the  tongue  too 
far  back  into  the  pharynx. 

Stech'er  (Ger.)     A  sticker. 

Stag  (Ger.)     Bridge. 

Stem.  (Ger.  Hals;  Fr.  qtiene;  It.  gam'- 
bo.)  The  vertical  line  attached  to  a 
note-head  (J   *,  etc.) — Also  Tail. 

Stentan'do  (It.)  Dragging  and  heavy, 
ritenu'to  e pesan'te. — Also  Stenta'to. 

Step,  (Ger.  Sc/iritt.)  A  melodic  pro- 
gression of  a  second  (either  major, 
minor,  or  augm.) — Also,  often  used  as 
synonymous  with  degree  ;  and,  further, 
as  equiv.  to  whole  tone  and  semitone, 
in  the  phrases  lohole  step  and  half-step. 
.  .  Chromatic  step,  the  progression  of  a 
chromatic  stcond.  .  .Diatonic  step,  a 
progression  between  conjunct  degrees 
of  the  diatonic  scale. 

Ster'bend   (Ger.,   "dying").     Morendo. 

Ste'so  (It.)  Extended,  prolonged  ;  steso 
moto,  a  slow  movement. 

Stes'so  (It.)     The  same. 

Sthen'ochire.  An  apparatus  designed 
for  increasing  the  strength  and  dexterity 
of  the  hands  and  fingers  of  players  on 
keyboard  instr. s. 

Sticca'do,   Sticca'to  (It.)     Xylophone. 

Sticker.     See  Organ. 

Stie'fel  (Ger.)     Boot  (of  a  reed-pipe). 

Stiel  (Ger.)     Stem  ;  neck  (of  violin.) 

Stil  (Ger.),  Sti'le  or  Sti'lo  (It.)     Style. 

Still'gedackt(Ger.)Asoft-toned  stopped 
organ-register. 

Bti'Io  (It.)  Style...  6".  osserva'to,  strict 
style,  especially  of  pure  vocal  music. . . 
S.  rappresentati'vo,  dramatic  monodic 
song  with  instrumental  accomp.  in 
chords  ;  a  style  originating  toward  the 
close  of  the  i6th  century. 


Stim'me  (Ger.)  I.  Voice. — 2.  Part, 
mitder  Stimme,  colla  parte. — 3.  Organ- 
stop  (generally  in  compounds). — 4. 
Soundpost.  .  .  .S"//ww'(7;«(7/3,  the  attack 
of  a  vocal  tone.  .  .  Stimm' bander,  vocal 
cords.  .  .  Sti)n>n'bildiing,  training  or  de- 
velopment of  the  voice.  .  .  Stinun'hruch, 
breaking  of  the  voice,  mutation . .  . 
Stimvi' bitch,  part-book.  .  .  Slim' men,  to 
tune  ;  to  voice  (an  organ) . .  .  Stim'/ner, 
(a)  tuner;  (b)  drone  (of  bagpipe)... 
Stiinm'flote,  pitch-pipe.  . .  Stiiiim' fiih- 
rer,  leader  in  a  chovMs. ..  Sti  mm' fit  It- 
rung,  leading  of  the  parts. ..  5//ww'- 
gabel,  tuning-fork.  . .  Stun m' hammer, 
tuning  -  hammer.  . .  Stimni'holz,  -holz- 
chen,  soundpost.  . .  Stimm' horn ,\xiv\vi<g- 
cone. .  .  Stimm' keil,  tuning  -  wedge.  .  . 
Stinun'kriicke,  tuning-wire .  .  .  Stimm'- 
mittel,  vocal  powers,  capacity. .  .  Stimm' - 
pfeife,  pitch-pipe. ..  .SV/ww'riVct',  glot- 
tis. ..  Stimm' stock,  soundpost  (violin); 
wrest-plank  (pfte.) .  .  .  Stimm' um fang, 
compass  of  the  \o\cq.  .  .  Stim'mting, 
(a)  tuning  ;  accordatura  ;  (/')  pitch  ; 
Stimmitng  halten,  to  keep  in  tune;  (c)  a. 
mood,  frame  of  mind  ;  Stini'mungsbild, 
a  "mood-picture",  short  characteristic 
piece. . .  Stimm' werkzcuge ,  vocal  organs. 

Stinguen'do  (It.)     Dying  away. 

Stiracchia'to,  Stira'to  (It.)  Dragging, 
retarding  the  tempo. 

Stock  (Ger.)     Bundle  of  30  strings. 

Stock'chen  des  Hal'ses  (Ger.)  "Heel" 
of  violin,  etc. 

Stock'fagott  (Ger.)  Same  as  Rackett. 
.  .  Stock' fate,  same  as  Czakan. 

Stol'Ien  (Ger.)     See  Strophe. 

Stonan'te  (It.)     Dissonant. 

Stone-harmonicon.     See  Lapideon. 

Stop  (;/ !'«;/).  I.  (fj&x.  Regis' terzitg;  Yr. 
registre;  It.  regi'stro.)  That  part  of 
the  organ-mechanism  controlling  the 
admission  of  wind  to  the  grooves  be- 
neath the  pipes. — 2.  (Ger.  Regis' ter; 
Fr.  jeu  d'orgiie{s);  It.  regi'stro.)  A  set 
or  row  of  organ-pipes  of  like  character, 
arranged  in  graduated  succession. 
These  are  called  speaking  or  sounding 
stops;  they  are  classed  as  Flue-work 
(having  flue-pipes),  and  Reed-work, 
(having  reed-pipes) ;  the  flue-work  has 
3  sub-classes,  namely  {a)  Principal- 
work,  having  cylindrical  flue-pipes  of 
diapason-quality,  i.  e.  the  characteristic 
organ-tone  ;  (/')  Gedackt-work,  having 
covered  (stopped  or  plugged)  pipes ; 
and  ((•)  Flute-work,  including  all  flue- 


STOP— STRETTA. 


stops  having  flue-pipes  of  a  scale  too 
broad  or  too  narrow  to  produce  the 
diapason-tone,  together  with  such  stop- 
ped pipes  as  have  chimneys,  and  all  3- 
or  4-sided  wooden  pipes. ..  Ow/Zr^/ 
stop,  one  having  at  least  one  pipe  for 
each  key  of  the  keyboard  to  which  it 
belongs. . .  Compound  stop,  see  Mixture- 
stop.  .  .DiviJt'J  stop,  one  in  which  the 
lower  half  of  its  register  is  controlled  by 
a  different  stop-knob  from  the  upper, 
and  generally  bears  a  different  name. . . 
Flue-stop,  one  composed  of  flue-pipes. 
.  .Foundation-stop ,  one  of  normal  8-foot 
■piich. .  .Half -stop,  incomplete  or  im- 
perfect stop,  one  producing  (approxi- 
mately) half  the  tones  called  for  by  the 
full  scale  of  its  manual .  .  .  Mechanical 
stop,  one  not  having  a  set  of  pipes,  but 
governing  some  mechanical  device  ; 
such  are  the  couplers,  tremulant,  bell- 
signal,  and  the  WkQ.  .  .Mixture-stop, 
one  with  2  or  more  ranks  of  pipes,  thus 
producing  more  than  one  tone  for  each 
key  (as  the  Mixture,  Carillon,  Cornet, 
Cymbal) . . .  Mutation-stop,  one  produc- 
ing tones  a  major  3rd  or  perfect  5th 
(or  a  higher  octave  of  either)  above 
the  8'  stops  (as  the  Tierce,  Twelfth, 
Quint').  .  .Partial  stop,  see  Half -stop. 
.  .Pedal- stop,  a  stop  on  the  pedal... 
Reed-stop,  one  composed  of  reed-pipes. 
.  .  Solo-stop,  any  organ-stop  adapted  for 
the  production  of  characteristic  melodic 
effects,  whether  on  the  solo  organ  or 
not.  .  .  Sounding  or  speaking  stop,  a  stop 
proper,  having  pipes  and  producing 
musical  tones. — 3.  On  a  violin,  etc., 
pressure  of  a  finger  on  a  string,  to  vary 
its  pitch  ;  a  douhle-stop  is  when  2  or 
more  strings  are  so  pressed  and  sound- 
ed simultaneously  ; — on  wind-instr.s 
with  finger-holes,  the  closing  of  a  hole 
by  the  finger  or  a  key,  to  alter  the 
pitch  ; — on  wind-instr.s  of  the  trumpet 
family,  the  partial  closing  of  the  bell  by 
inserting  the  hand,  thus  raising  the  pitch 
and  modifying  the  quality  of  the  tone. 

Stop  {verb).  To  vary  the  pitch  of  instr.s 
as  described  under  Stop  3  above . .  . 
Stopped  notes,  notes  obtained  by  stop- 
ping ;  opp.  to  open  .  .  .  Stopped  pipes, 
organ-pipes  closed  (plugged  or  covered) 
at  the  top  ;  opp.  to  open. 

Stop'fen  (Ger.)  To  stop  (bell  of  horn 
with  the  hand) .  .  .  Stopf'tone,  stopped 
tones,   "  hand-notes  "  (horn). 

Stop-knob.  The  projecting  handle  of  a 
Stop  I. 


Stoss'zeichen  (Ger.)     Staccato-mark. 
Straccicalan'do    (It.)     Babbling,    prat- 
tling. 

Strain.  In  general,  a  song,  tune,  air, 
melody  ;  also,  some  well-defined  pas- 
sage in  or  part  of  apiece. — Technically, 
a  period,  sentence,  or  short  division  of 
a  composition  ;  a  motive  or  theme. 

Strascican'do  (It.)  Dragging,  drawl- 
ing. (Also  strascinan' do;  strascituindo 
I'arco,  drawing  the  bow  so  as  to  bind 
the  tones.) 

Strathspey.  An  animated  Scotch  dance, 
somewhat  slower  than  the  reel,  and  like 
it  in  4-4  time,  but  progressing  in  dot- 
ted eighth-notes  alternating  with  i6ths, 
the  latter  frequently  preceding  the  for- 
mer, then  producing  the  peculiar  jerky 
rhythm  of  the  Scotch  snap. 

Stravagan'te  (It.)  Extravagant,  eccen- 
tric, fantastical. 

Stravagan'za   (It.)     An   extravaganza. 

Straw-fiddle.     See  Strohfiedel. 

Strei'chen  (Ger.)  i.  To  bow  (draw  the 
bow  across). — 2.  To  cut  (as  a  scene  in 
an  opera) . .  .  Strei'chend  (Ger. ;  lit. 
"  drawing  [as  a  bow]"),  the  quality  of 
tone  called  in  English  stringy  (opp. 
to  j-eedy,  fluty,  e\.c.). . .  Streichende 
Regis' ter,  in  the  organ,  stops  with  string- 
tone  . . .  Streicii'instrumente,  bow-instr.s. 
.  .  Strcich'orchester,  string-orchestra, 
' '  the  strings  "...  Streich' quartett,  -trio, 
string-quartet,  -trio. .  .  Streich' zither, 
bow-zither. 

Streng  (Ger.)  Strict,  severe.  (Also 
adverb^ 

Stre'pito  (It.)  Noise. . .  Strepitosamen'- 
te,  strepito'so,  in  a  noisy,  boisterous, 
impetuous  style. 

Stretch.  On  a  keyboard  or  fingerboard, 
a  wide  interval  whose  tones  are  to  be 
taken  simultaneously  by  the  fingers  of 
one  hand. 

Stret'ta,  commonly_.Stret^o  (It.;  Fr. 
strette;  Ger.  Eng' fiihrtmg^  "  Nar- 
row, drawn  together",  i.  A  division 
of  a  fugue  (usually  a  final  development, 
for  the  sake  of  effect)  in  which  subject 
and  answer  follow  each  other  in  such 
close  succession  as  to  overlap ...  .S". 
maestra'le,  one  constructed  in  strict 
canon... ^//rt  stretta,  in,  or  after  the 
manner  of,  a  stretto.  .  .Andante  stretto, 
same  as  andante  agitato. — 2.  A  con- 
cluding passage  taken,  to  enhance  the 
effect,  in  faster  tempo. 


STRETTE— STUFE. 


189 


Strette    (Fr.)_._Stretto.  ■  .S.   inagistrale, 
same  as  Sb-etio  marstrale. 

I.     Stroke  ;     Strich'art, 
A  line,  dash,  or  stroke. 


Strich    (Ger.) 
Bowing  2. — 2. 
— 3.     A  "  cut' 

Striden'te  (It. ; 
pfte. -playing, 


"  noisy,"  "  harsh".)     In 
equiv.       to      martellato 
(comp.  Beethoven,  op.   76,  Var.  VI). 

String.  (Ger.  Sai'te;  Fr.  corde;  It.  cor'- 
da.)  The  materials  chiefly  used  for 
manufacturing  musical  strings  are  gut 
(entrails  of  lambs  and  sheep),  cast 
j/ci'/ (drawn  out  for  piano-strings,  etc.), 
silver  (mostly  for  covering  or  winding 
spirally  around  a  core — steel  wire  or 
silk  cord — to  make  the  string  thicker 
and  heavier  in  proportion  to  its  length, 
and  consequently  deeper-toned),  and 
silk  (as  a  core  in  covered  strings,  es- 
pecially for  the  guitar  and  zither).  Cop- 
per and  brass  are  also  employed. .  .  The 
Strings,  technical  term  for  the  string- 
group  in  the  orchestra. .  .First  string, 
the  highest  of  a  set .  .  .  Open  string,  one 
not  stopped  or  shortened . . .  Silver 
string,  one  covered  with  silver  wire .  .  . 
Soprano  string,  the  chanterelle. 

Stringed  instruments.  (Ger.  Sai'ten- 
instrttmente;  Fr.  instrutnents  a  cordes ; 
It.  stroinen'ti  da  cor'da.)  All  musical 
instr.s  whose  tones  are  produced  by 
strings,  whether  struck,  plucked,  or 
bowed.     See  Instruments. 

Stringen'do  (It.)  Hastening,  accelerat- 
ing the  movement,  usually  suddenly 
and  rapidly,  with  a  crescendo. 

String-gauge.  A  gauge  for  measuring 
the  thickness  of  strings. 

String-organ.  A  keyboard  instr.,  pro- 
vided with  a  series  of  free  reeds  con- 
nected by  rods  with  ordinary  piano- 
strings  of  corresponding  pitch,  which 
are  sympathetically  affected  by  the  vi- 
brations of  the  reeds.  The  tone  is  pure 
and  sweet,  the  instr.  combining  in  a  de- 
gree the  qualities  of  the  harmonium 
and  pfte. — Also  compare  art.  Sai tenor- 
gel. 

String-quartet.  A  quartet  for  ist  and 
2nd  violin,  viola,  and  'cello  ;  hence, 
the  instr.s  themselves,  or  the  players 
on  them  ;  and,  by  e.\tension,  the  string- 
group  in  the  orchestra  (see  String-quin- 
tet). 

String-quintet,  i.  A  quintet  for  2  vio- 
lins, 2  violas,  and  'cello  ;  or  for  2  vio- 
lins, I  viola,  and  2  'celli  ;  or  for  2  vio- 
lins,   viola,    'cello,    and    double-bass. 


These  are  the  most  usual  combinations, 
which  may  be  variously  extended  to 
form  string-sextets,  septets,  etc. —  2. 
The  string-group  in  the  orchestra,  when 
considered  as  composed  of  (i)  ist  and 
(2)  2nd  violins,  (3)  violas,  (4)  'cellos, 
and  (5)  double-basses  ;  called  string- 
qtiartet  when  considered  as  composed 
of  (i)  violins,  (2)  violas,  (3)  'cellos,  and 
(4)  double-basses. 

Stringy.  Having  the  quality  of  tone 
("  string-tone")  peculiar  to  bow-instr.s. 

Striscian'do  (It.)  Gliding,  smooth, 
legato. 

Stro'fa  (It.)     Strophe. 

Stroh'bass  (Ger.)  The  deep,  husky 
tone  of  the  lower  chest-register  (male 
voice)  produced  by  forcing  the  breath 
between  the  vocal  chords  when  the 
latter,  though  brought  near  together, 
are  in  a  state  of  relaxation . . .  Stroh'Jie- 
del,  the  xylophone. 

Stroke.  The  sweep  (fall  and  rise)  of  a 
digital  or  pedal. 

Strombetta're  (It.)  To  sound  a  trum- 
pet .  .  .  Stromhettie're,  trumpeter. 

Stromenta'to  (It.)     Instrumented. 

Stromen'to  (It.)  Instrument. .  .5.  da 
area,  bow-instr. . .  S.  da  cor  da,  stringed 
instrument ... -S.  da  fia'to  (di  vento), 
wind-instr. . .  S.  da  ta'sto,  keyboard  in- 
str . .  .S.  di  le'gno,  wooden  instr . . .  S. 
di  metal'lo,  metal  instr. 

Stro'phe.  (Gk.,  "  a  turning  round".)  i. 
In  the  Greek  drama,  the  song  of  the 
chorus  when  turning  from  right  to  left, 
the  antis'trophe  being  what  was  sung 
when  turning  from  left  to  right,  the 
ep'ode  then  following. — 2.  A  recurrent 
group  of  lines  in  a  poem,  arranged  ac- 
cording to  a  fixed  metrical  system  or 
plan  ;  equivalent  to  stanza  in  modern 
poetrj'. — 3.  The  former  of  two  such 
groups,  the  latter  then  being  called  the 
antistropke  (see  above) . . .  The  Strophe, 
Antistrophe,  and  Epode  of  the  Greek 
tragic  chorus  and  Pindar's  odes,  closely 
correspond  to  the  2  Stollen  and  the 
Al'gesangoiihc  German  Mei ster singer ; 
the  Bar  being  the  group  formed  by  the 
2  Stollen  and  the  Abgesang. 

Stiick  (Ger.)  A  piece  ;  a  number  (as 
on  a  program). 

Study.  (Ger.  St u' die  [pi.  Stu'dien'\,  or 
Etii'de  [pi.  Etii'den^;  Fr.  ^tude;  It. 
stu'dio.)     See  Etude. 

Stu'fe  (Ger.)     A  degree. .  .Stuyenweise 


IQO 


STUMM— SUITE. 


Fort'schreitung,    diatonic  or    conjunct 
("  stepwise")  progression. 

Stumm  (Cier.)  Dumb .  .  .  Stum' nies  Kla- 
vier\  dumb  piano. . .  Stum' me  Pfei'fc, 
dummy  Y'I'^q  . . .  Stum' nies  Regis' ter, 
mechanical  stop. 

Stiir'misch  (Cer.,  "stormy".)  Impetu- 
ous, passionate.     (Also  adverb^ 

Stiir'ze  (Ger.)  Bell  (of  wind-instr.s). . . 
Stilr'ze  in  die  Hoh'c,  "turn  tlie  bell 
upwards  !" 

Stuttgart  pitch.  That  proposed  by 
ScheiblM-     at     the     j)  —  to  make 

Stuttgart  Congress    ^     ci~zL  400     vi- 
in     1834,     the    a}    \)  b  rations 

per    second  at   a   temperature   of   6g° 
Fahrenheit.  (Comp.  Fitch,  Absolute?) 

Stutz'fliigel     (Ger.)       Boudoir     grand, 

"  baby"  grand  (pfte.) 
Su  (It.)     On,  upon  ;  by,  near..  .Arco  in 

su,  up-bow. 

Suabe  flute.    A  sweet-toned  organ-stop. 

Sua've  (It.)  See  Soave. .  .Suavita' ,  con, 
suavely,  sweetly. 

Sub  (Lat.)     Under. 

Subbass',  Subbour'don.  An  organ- 
stop  of  16  or  32-foot  pitch,  generally 
on  the  pedal  and  stopped. 

Subcantor.  A  deputy  cantor  or  precen- 
tor, supplying  the  place  of  his  chief  in 
the  latter's   absence.     Also    Succentor. 

Subdiapen'te.  In  medieval  music,  the 
fifth  below  a  given  tone. 

Subdom'inant.  The  under-dominant, 
i.  e.  the  tone  below  the  dominant  in  a 
diatonic  scale  ;  the  4th  degree. 

Subitamen'te,  Su'bito  (It.)  Suddenly, 
quickly.  . .  Vi^fi  sidnto  (abbr.  V.  S.), 
turn  over  quickly. .  .p  subito  (after/), 
an  abrupt  [change  to]  piano,  without 
gradation. 

Subject.  (Ger.  Subjckt' ;  Fr.  sujet;  It. 
sogget'to.)  A  melodic  phrase  or  motive 
on  which  a  composition  or  movement  is 
founded  ;  a  theme  ;  opp.  to  anszver. 
(Also  antecedent,  dux,  guida,  proposta, 
etc.) — Compare  Soggetto. 

Subme'diant.  The  third  scale-tone  below 
the  tonic  ;  the  6th  degree. 

Suboc'tave.  The  octave  below  a  given 
tone. — Suboctave-cpupler,  an  organ- 
coupler  bringing  into  action  keys  an 
octave  below  those  struck,  either  on  the 
same  manual  or  another. 

Subordinate  chords.     Chords  not  fun- 


damental or  principle  ;  the  triads  on  the 
2nd,  3rd,  6th,  and  7th  degrees,  and  all 
chords  of  the  seventh  but  the  dominant 
chord. 

Subprincipal.  A  subbass  (pedal-)  stop 
of  32-foot  pitch,  of  the  open  diapason 

class. 

Subsemifu'sa  (Lat.)  A32nd-note(medie- 

val). 

Subsemitone.  The  subtonic,  or  lead- 
ing-tone (Lat.  subsemito'niuin  modi). 

Substitution.  In  contrapuntal  progres- 
sion, the  resolution  (or  preparation)  of 
a  dissonance  by  substituting,  for  the 
proper  tone  of  resolution  (preparation), 
its  higher  or  lower  octave  in  some  other 
part. 

Substitution  (Fr.)     Change   of    fingers. 

Subtonic.     The  leading-note. 

Succentor  (Lat.)  A  subcantor;  also, 
the  singer  of  a  lower  or  bass  part. 

Succession,  i.  Progression. — 2.  Se- 
quence. 

Sufflote  (Ger.)     See  Sifflote. 

Suffoca'to  (It.,  "  suffocated".)  Damped, 
muffled. 

Su'gli,  Su'i  (It.)    On  the  (comp.  Sul). 

Suite  (Fr.)  A  cyclical  instrumental  com- 
position consisting  of  a  set  or  series 
of  pieces  iu  various  idealized  dance- 
forms.  It  originated,  presumably,  in 
the  practice  of  the  town-bands,  during 
the  later  middle  ages,  of  stringing  to- 
gether a  succession  of  dance-tunes,  dif- 
fering in  character  and  form  but  alike 
in  key.  These  are  the  characteristic 
features  of  the  old  Suite,  which  was 
taken  up  in  the  17th  century  by  com- 
posers as  a  form  of  clavier-composition 
under  the  name  of  Fartie  or  Partita. 
The  extension  of  the  primitive  forms, 
naturally  resulting  from  instrumental 
treatment  at  the  hands  of  Italian  and 
German  musicians,  was  cut  short  by 
Couperin  (1668-1733),  who  in  many 
respects  served  Bach  as  a  model ;  the 
Kammersuiten  of  the  latter  mark  the 
culmination  of  the  old  suite-form. — The 
earlier  artistic  Suites  have  4  principal 
movements  or  divisions :  The  Alle- 
mande,  Courante,  Saraband,  and  Gigue; 
other  forms  introduced  at  will  {inter- 
fuezzi)  are  the  Bourree,  Branle,  Ga^ 
votte.  Minuet,  Musette,  Passepied, 
Loure,  Pavane,  etc. ;  such  an  intermez- 
zo was  usually  brought  in  between  the 
Saraband  and  Gigue,  rarely  before  tb» 


SUIVEZ— SWELL. 


191 


former. — The  modern  orchest?-al  Suite' 
can  hardly  be  called  a  revival  of  the  old 
form,  as  the  separate  movements  are 
not  necessarily  or  generally  in  dance- 
form,  nor  do  they  keep  to  one  key  ;  it 
more  nearly  resembles  the  Divertimen- 
to^ both  in  character  and  form. 

Suivez  (Fr.,  "  follow".)  Same  as  Colla 
parte. — Also,  "continue,"  " go  on"  (i. 
e.,  in  like  manner);  simile. 

Sujet  (Fr.)     Subject. 

^—  Sul,  suir,  sul'la,    sul'le  (It.)    On  the, 

-'  near   the   (all    contractions   of   sk,  on, 

with  the  definite  article). .  .  Sulla  corda 
Za,  on  the  A-sXx'wi.^.  .  .Sulla  tastie'ra, 
near  or  by  the  fingerboard. ..  5«//^m- 
ticel'lo,  near  the  bridge  {see  Ponticelld). 

Summational  tone,  'i^^  Acoustics,  §3,  b. 

Suona're  (It.)  Same  as  Sonare. . .  Suon- 
a'ta,  see  Sonata ...  Suo' no ,  sound, 
tone ;  suoni  armo'nici,  harmonics, 
flageolet-tones. 

Super  (Lat.)     Above,  over. 

Superdominant.  The  6th  degree  of  any 
major  or  minor  scale. 

Superfluous.  (Fr.  sttperjlu.)  See  Aug- 
viented. 

Supe'rius  (Lat.)  Formerly,  the  highest 
part. 

Superoctave.  i.  An  organ-stop  pitched 
2  octaves  higher  than  the  diapasons 
(i.  e.  of  2-foot  pitch). — 2.  An  organ- 
coupler  bringing  into  action  keys  an  oc- 
tave above  those  struck,  either  on  the 
same  manual  or  another. — 3.  The  octave 
above  a  given  tone. 

Supertonic.  The  2nd  degree  of  a  dia- 
tonic scale. 

Suppliche'vole,  Supplichevolmen'te 
(It.)  In  a  style  expressive  of  supplica- 
tion, entreaty,  pleading. 

Support.  An  accompaniment,  or  sub- 
ordinate part. 

Supposed  bass.     See  Bass. 

Sur  (Fr.)  On,  upon,  over....S'«r  une 
corde,  see  Sopra  una  corda. 

Surabondant  (Fr.)  See  Note  (Fr.) 

Suraigu,  -e  (Fr.)  Superacute. 

Surdeli'na  (It.)      See  Soiirdeline. 

Surprise  cadence.     See  Cadence. 

Sus-dominante   (Fr.)      Superdominant. 

Suspended  cadence.     See  Cadence. 

Suspension.  (Ger.  Vor'halt;  Fr.  sus- 
pension;   It,    sospensio'ne.)      A    disso- 


nance caused  by  suspending  (holding 
back)  a  tone  or  some  tones  of  a  chord 
while  the  other  tones  progress ;  the 
dissonance  of  a  seventh  or  second, 
occurring  immediately  before  a  chord 
which  would  have  entered  entire  were 
it  not  for  the  suspension  ;  e.  g. 


A- 


-■=:^^^si.- 


:^ 


-J- 


=?=; 


7^^- 


m^ 


— Double  (triple)  suspension,  one  in 
which  2  (3)  tones  are  suspended. — The 
suspended  tone  itself  is  also  termed  a 
suspension. 

Suspi'rium  (Lat.)  A  quarter-rest ;  in 
mensurable  notation,  a  minim-rest. 

Siiss  (Ger.)     Sweet(ly). 

Sustain,  To  hold  during  the  full  time- 
value  (of  notes)  ;  specifically,  to  per- 
form in  sostenuto  or  legato  style .  . .  Sus- 
tainednote,  see  Organ-point. — Sustain- 
ing-pedal, see  Pedal. 

Sus-tonique  (Fr.)  Supertonic.  (Also 
Siitonique.) 

Susurran'do,  Susurran'te  (It.)  In  a 
whispering,  murmurous  tone. 

Sveglia'to  (It.)  Lively,  animated, 
brisk. 

Svel'to  (It.)     Light,  nimble. 

Swell,  I.  In  the  organ,  a  contrivance 
for  producing  a  crescendo  and  diminu- 
endo. By  enclosing  a  partial  organ 
(swell-organ)  in  a  box,  the  front  of 
which  could  be  opened  or  shut  at  will, 
this  end  was  attained.  In  the  modern 
(so-called  ]^eiutian)  swell  the  front  of 
the  swell-box  is  composed  of  movable 
parallel  shutters  (swell-blinds) ;  when 
these  shutters  are  horizontal,  they  are 
usually  opened  by  a  lever  (swell-pedal) 
worked  by  the  organist's  right  foot,  and 
close  automatically  when  the  lever  is 
released  (but  comp.  Balance  stvell- 
pedal);  when  vertical,  they  are  closed 
by  a  spring. — Formerly  other  devices 
were  employed,  notably  the  nag's-head 
s-ioell,  a  single  broad  shutter  in  front  of 
an  echo-organ,  to  be  raised  or  lowered. 
— On  the  harpsichord  a  swell  was  ob- 
tained by  a  movable  cover. — 2.  A  cre- 
scendo (  -=xr:),  or  crescendo  and  di- 
minuendo {  ~=:=:iz  zz=^=~  )...  Swell- 
keyboard,   the   manual    controlling   the 


IQ2 


SYLBE-SYMPHONY. 


swell-organ,  generally  the  one  next 
above  the  great-organ  manual. . .  Swell- 
organ  (Ger.  [compare  Oberwcrk\ ;  Fr. 
clavier  de  re'cit;  It.  organo  d'espres- 
sione),  see  Swell  r,  and  Organ.  (In 
organ-music  abbr.  Sio.,  or  S~well.) 

Syl'be  (Ger.)  Syllable. 

Syllabic  melody.  One  each  tone  of 
which  is  sung  to  a  separate  syllable 
(Ger.  silla'bischer  Gesang;  Fr.  chant 
syllahiijiie) ;  opp.  to  Slurred  vielody. 

Syllable-name.  A  syllable  taken  as  the 
name  of  a  note  or  tone,  as  Do  for  C; 
opp.  to  Letter-name. 

Sympathetic  string.  A  string  (e.  g. 
the  octave-strings  stretched  over  the 
unisons  in  Bliithner's  "aliquot  grands") 
adjusted  so  as  to  be  affected  by  the  vi- 
brations of  other  strings  or  resonant 
bodies,  and  not  by  being  itself  struck, 
plucked,  or  bowea. 

Symphone'ta  (Lat.)  Polyphony,  poly- 
phonic writing. 

Symphoni'a(Gk.  andLat.)  i.  In  Greek 
music,  a  consonance. — 2.  (Medieval.) 
A  name  formerly  applied  to  various 
different  instr.s,  as  the  hurdy-gurdy  and 
virginal. — 3.  A  symphony. 

Symphon'ic.  (Ger.  syrnpho'nisck;  Fr. 
symphonjqtce;  It.  sinfo'fiico.)  Relating 
or  pertaining  to  a  symphony. ..  6)'/«- 
phonlc  poem  (Ger.  sympho'nische  Dich'- 
tung;  Fr.  poeme  syinphonique),  an  or- 
chestral composition  allied,  both  in 
its  length  and  in  the  power  and  variety 
of  its  instrumentation,  to  the  sym- 
phony ;  but  radically  differing  from 
the  latter  by  discarding  the  orthodo.x 
form  (division  into  the  regular  move- 
ments), and  in  being  directly  based  on 
and  receiving  its  inspiration  from  a 
program  {\.\\q  poem;  i.  e. ,  it  is  conceived 
as  an  instrumental  poem,  depicting 
events,  scenes,  or  moods  like  a  word- 
poem).  This  "fairest  flower"  of  pro- 
gram-music can  necessarily  have  no 
tixed  form,  but  its  continuous  flow  is 
moulded  into  a  sort  of  unity  by  the 
repetition  of  the  same  theme  variously 
modified  and  transformed. 

Symphonie  (Fr.)  i.  Symphony. —  2. 
Harmony,  euphony. — 3.  An  instrumen- 
tal accomp. — 4.  The  string-group  in 
the  orchestra. — 5.   Orchestra. 

Syraphonie-Ode  (Ger.)  A  symphonic 
composition  combining  chorus  and  or- 
chestra (Fr.  ode-symphonie). 

Sympho'niker  (Ger.)  A  composer  for 
full  (symphony-  or  opera-)  orchestra. 


Sympho'nion.  r.  A  pfte.  combined 
with  an  organ  flute-stop,  inv.  in  1839 
by  Fr.  Kaufmann  of  Dresden. — 2.  A 
music-box,  consisting  essentially  of  a 
graduated  comb-like  series  of  steel 
teeth,  and  a  thin  flat  metallic  disk 
caused  to  rotate  by  clockwork,  and  in 
which  the  notes  are  punched  in  such  a 
manner  that  short  tongues  of  metal 
project  from  the  lower  side  of  the  disk  ; 
in  rotating  over  the  steel  teeth,  these 
tongues  engage  a  series  of  small  wheels 
furnished  with  projecting  studs,  which 
twang  the  teeth  in  the  same  way  as  the 
studs  on  the  cylinder  of  the  ordinary 
Swiss  music-box.  The  instr.s  are  made 
in  all  sizes,  and  as  the  note-disks  are 
interchangeable,  the  repertory  is  limited 
only  by  their  number  (now  several 
thousand). 

Symphoniste  (Fr.)  i.  A  composer. — 2 
A  symphony-writer. — 3.  A  member  o^ 
a  symphony-orchestra. 

Sym'phony.  (Ger.  Symphonie' ,  Sin- 
fonie';  It.  sinfoni'a;  Fr.  symphonic^ 
from  the  Gk.  symphoni'a,  "consa. 
nance",  i.  e.  consonant  interval.)  i. 
A  form  of  instrumental  composition  de- 
veloped from  the  Overture  {q.  v.),  the 
3  divisions  of  which  latter  were  separ- 
ated towards  the  middle  of  the  i8th 
century,  by  composers  writing  purely 
orchestral  pieces,  into  3  distinct  move- 
ments ;  the  4th  (the  Minuet)  being  in- 
troduced by  Haydn,  who  thus  consum- 
mated the  modern  4-movement  form. 
This  form  is  identical  with  that  of  the 
Sonata  (comp.  Form).  For  the  Minuet, 
Beethoven  substituted  the  Scherzo, 
which  since  then  has  been  the  typical 
form  of  the  3rd  movement.  Haydn 
also  transferred  the  "  first-movement " 
form  of  the  sonata  to  the  symphony, 
and  utilized  the  individual  timbres  of 
the  various  instr.s  for  contrasts  in  or- 
chestration ;  the  perfection  of  instru- 
mental individualization  is  the  work  of 
Mozart  and  Beethoven,  and  the  latter 
enlarged  the  symphony-orchestra  to  its 
modern  status  (comp.  Orchestra).  The 
usual  plan  of  the  symphony  is  now  I 
{Allegro  [in  first-movement  form,  often 
with  a  slow  introductory  division])  ;  II 
{Adagio);  III  {Scherzo);  IV  {Allegro 
or  Presto). — Its  latest  development  is 
the  Symphonic  Poem. — 2.  Same  as 
Ritornello  I. — 3.  A  medieval  name  for 
several  instr.s,  as  the  Hurdy-gurdy, 
Bagpipe,  etc. 


SYNCOPATE— TABLATURE. 


193 


Syn'copate.  To  efface  or  shift  the  accent 
of  a  tone  or  chord  falling  on  a  naturally 
strong  beat,  by  tying  it  over  from  the 
preceding  weak  beat ;  a  tone  or  chord 
so  robbed  of  its  accent  is  termed  synco- 
pated. 

Syncopa'tion.  (Ger.  Syji'kopc;  Fr.  syn- 
cope; It.  sin'cope.)  The  tying  of  a 
weak  beat  to  the  following  strong  beat, 
effacing  the  accent  naturally  falling  on 
the  latter  and  in  most  cases  shifting  it 
to  the  (naturally  unaccented)  weak  beat. 
Syncopation  may  take  place  in  one, 
several,  or  all  parts  ;  in  the  first  two 
cases  as  an  anticipation,  a  suspension, 
or  a  resolution  of  either  (as  a  resolution 
the  accent  is  weakest,  or  quite  elided, 
particularly  when  concluding  a  phrase)  ; 
in  the  third  case,  or  in  anticipation,  the 
accent  is  apt  to  have  a  sforzando  char- 
acter. 

Synem'menon.     See  Greek  music. 

Syn'kope  (Ger.)  Syncopation ...  6V«- 
kopie'ren,  to  syncopate. 

Synonyme  (Fr.)  Same  as  Homophone, 
which  latter  term  is  more  correct. 

Synton'ic  comma.     See  Comma. 

Syntonolyd'ian.  Same  as  Hypolydian 
(see  Mode). 

Syringe  (Fr.)     Syrin.x. 

Syr'inx.     S&e:  Pandean  pipes. 

System,  i.  A  number  of  staves  braced 
together  for  writing  out  a  full  score .  .  . 
2.   (Ger.)     See  Linicnsystcm. 

Syste'ma  l.  (Gk.)  In  Greek  music, 
a  comparatively  wide  interval  filled  out 
by  intermediate  tones  ;  e.  g.  a  tetra- 
chord. — 2.  (Lat.)  The  staff. — 3.  The 
series  of  tones  constituting  a  hexa- 
chord. 

Systfeme  (Fr.)  i.  The  whole  range  of 
musical  tones. — 2.  The  compass  of  any 
given  instr. 

Syzygi'a  (Lat.)  A  chord  ;  specifically, 
a  triad... .S".  compo'sita,  triad  with 
doubled  tone...  6".  perfec'ta,  triad... 
S.  propiti' qua ,  chord  in  close  harmony. 
..S.  remo'ta,  chord  in  open  harmony. 
. .  S.  sim'plex,  the  simple  triad  without 
doubled  tones. 

T. 

T.  An  abbr.  of  Talon,  Tasto  {i.  s.  = 
tasto  solo),  Tempo  (at.  =  a.  tempo), 
Tendre,  Tenor,  Toe  (in  organ-music), 
Tri('l.  C.  =  tre  corde),  and  Tiitti. 


Tabal'lo  (It.)     See  Timpano. 

Tab'lature.  i.  (Ger.  Tabulator'.)  The 
rules  and  regulations  for  the  poetry  and 
song  of  the  Weistersinger. — 2.  (Ger. 
Tabiilatur' ;  Fr.  tablatiire;  It.  intavola- 
iu'ra.)  An  obsolete  system  of  musical 
notation  employed  chiefly  for  the  lute, 
viol,  and  organ,  and  most  in  vogue 
from  the  15th  century  till  early  in  the 
l8th. — The  organ-tablatnre  (also  called 
German  t.)  used  for  keyboard  instr.s 
was  a  system  of  alphabetical  notation 
based  on  the  division  of  the  mus.  scale 
into  the  octaves  C — //  (=  B),  c — h 
(=:  b),  etc.;  the  melody  (highest  part) 
was  often  noted  on  a  staff,  the  accom- 
panying chords  being  expressed  by  ver- 
tical rows  of  letters.  In  the  liite-tabla- 
titres  (excepting  the  German)  the  tones 
were  represented  by  letters  {French  or 
English  t.)  or  numerals  (earlier  Italian 
t.)  indicating  the  frets  at  which  the 
strings  were  to  be  stopped,  and  were 
written  on  the  lines  or  in  the  spaces  of 
a  kind  of  staff,  said  lines  or  spaces 
showing  the  number  of  strings  on  the 
instrument.  The  pitch  of  the  tones 
represented  by  the  letters  or  figures 
would  therefore  vary  with  the  size  of 
the  lute,  and  was  not  a  staff-notation  in 
the  modern  sense. — Three  leading  fea- 
tures were  common  to  nearly  all  systems 
of  tablature :  (i)  The  vertical  disposi- 
tion of  the  characters  representing  one 
chord  ;  (2)  the  use  of  bars  to  divide  the 
measures ;  (3)  a  system  of  signs  for 
marking  the  time-value  of  the  tones 
called  for  by  letters  or  figures  (or  of 
the  corresponding  rests),  these  signs 
being  written  either  above  or  belov/  the 
latter,  and  signifying: 


Note-     Rest- 
Signs.  Signs. 

1  I 


Time-Value. 

Erevis  (  M  ) 
Semibrevis    ( 1^  ) 


1^        _t         Minima  (J) 

P         K         Semiminima  (J) 


Semifusa  (^^) 


The  hooks  of  consecutive  equal  notes 
were  often  run  together  thus   S3SSS 


m 


TABLE— TANDELND. 


or  I  I  |~.  Arbitrary  variations  from 
these  general  rules  were,  however,  of 
frequent  occurrence. — A  new  develop- 
ment of  tablature  is  the  Tonic  Sol-fa 
system  of  notation. 

Table  (Fr.)  Soundboard  ;  belly.  (Also 
ta/>k  d' harmonic^. , .  Table  de  dessous, 
back. 

Table-music.     See  Tafelmusik. 

Tabor.  A  small  drum,  like  a  tambour- 
ine without  jingles  ;  formerly  much 
used  by  pipers,  who  beat  the  tabor  with 
the  right  hand  as  an  accompaniment  to 
a  flageolet  or  pipe  manipulated  by  the 
left .  . .  Tabor et,    Tabret,  a  small  tabor. 

Tab'ulature.     See  Tablature. 

Ta'cent  (Lat.)  "  Are  silent".  See  Tacet. 

Ta'cet  (Lat.\  Ta'ce  or  Ta'ci  (It.)  "  Is 
silent";  signifies  that  an  instrumental 
or  vocal  part  so  marked  is  omitted  dur- 
ing the  movement  or  number  in  ques- 
tion, 

Tac'tus  (Lat.)  A  beat. — In  medieval 
music  its  time-value  was  styled  /actus 
major  when  it  marked  a  breve  to  a 
measure,  and  tactus  minor  when  a  semi- 
breve. 

Ta'felklavier  (Ger.)  A  square  pfte. — 
Also  ta' felformiges  Klavier' . .  .  Ta'fel- 
musik,  "table-music";  {a)  music  per- 
formed during  repasts;  {b)  music  so 
printed  that  several  performers,  sitting 
around  a  square  table,  could  read  their 
several  parts  from  the  same  book.  See 
Part-book. 

Tail.  Same  as  Stem. . .  Tailpiece.  (Ger. 
Sai'tenhalter ;  Fr.  cordier,  queue. ^ 
In  the  violin,  etc.,  the  piece  of  wood 
(usually  ebony)  to  which  the  strings  are 
attached  behind  the  bridge. 

Taille  (Fr.)  Tenor  voice  (novvusedonly 
for  church-music  ;  otherwise  tJnor). 
Also,  the  tenor  violin. . .  Taille  de  bas- 
son,  same  as  Oboe  da  caccia. 

Takt  (Ger.)  i.  A  beat. — 2.  A  measure. 
— 3.  'Y'xm.Q.. .  .Takt' accent,  measure- 
accent,  primary  accent. . .  Takt' art, 
time,  measure,  rhythm. . .  Takt'erstick- 
ung,  syncopation. .  .  Takt'fach,  a  space. 
. .  Takt' f est,  steady  in  time . . .  Takt'- 
glied,  measure-note.  ..  Za/f'/'/^rtZ/c;/,  to 
keep  time  ;  keeping  time.  .  .  Tak'tieren, 
to  beat  time...  Tak' tier  stab,  a.  baton. 
. .  Takt' miissig,  in  time.  .  .  Takt'messer, 
metronome. . .  Takt' note,  whole  note. 
. .  Taktf pause,  measure-rest .  . .  Takf- 
ichlazen,  to  beat  time. . .  Takt' stock,  a 


baton.  .  .  Takt' st rich,  a  bar. . .  Takf 
tcil,  beat,  count ;  guter  Taktteil,  strong 
beat ;  schlec liter  'Taktteil,  weak  beat. 
. .  Takfvorzeichnung,  Takt' zeic hen, 
time-signature.  .  .  Ein  Takt  wievorker' 
zwei  ("one  measure  like  two  before"), 
same  as  Doppio  riiovimento .  . .  I  in  Takt., 
a  tempo. 

Talon  (Fr.,  "heel"),  i.  Nulr  (of  the 
bow.) — 2.  In  pedal-playing,  heel ; 
abbr.  t  (compare  Fointe  2). —  Talon  de 
la  manche  (in  the  violin,  etc.),  heel  (end 
of  neck  joining  the  body). 

Tambour  (Fr.)  i.  A  drum. — 2.  A 
drummer  (also  Ger.) —  Tambour  chro- 
matique,  see  Timbalarion. . .  T.  de 
basque,  tambourine. . .  T.  roulante,  the 
long  drum. 

Tambou'ra,  Tambu'ra.  An  Oriental 
instr.  of  the  lute  kind,  having  a  round 
body,  fretted  fingerboard,  and  3  or  4 
strings. 

Tambourin  (Fr.)  i.  A  sort  of  tabor. 
— 2.  A  French  peasants'  dance,  in  2-4. 
time  and  lively  tempo,  often  accomp. 
by  the  tambourin  and  galoubet  (tabor 
and  pipe). 

Tambourine'.  (Ger.  Tamburin' ;  Fr. 
tambour  de  basque;  It.  tamburi'no^ 
A  small  drum  played  by  striking  it  with 
the  right  hand,  consisting  of  a  shallow 
circular  hoop  of  wood  or  metal  with 
one  head  of  parchment ;  in  apertures 
made  around  the  hoop  are  fastened  sev- 
eral pairs  of  loose  metallic  plates, 
called  jingles  from  the  noise  they  pro- 
duce. Used  principally  in  Spam  and 
southern  France  as  an  accomp.  to  danc- 
ing ;  occasionally  employed  in  the  (op- 
eratic) orchestra.  In  tambourine-mu- 
sic, notes  with  wavy  stems  J  T  <  call 
for  the  roll;  notes  with  short  vertical 
strokes  over  them  p  •  •  for  the 
jingles, 

Tamburel'lo  (It.)     Tabor. 

Tamburi'no  (It.)  i.  A  drummer. — 2. 
Tambourine. 

Tambu'ro  (It.)  Side-drum . . .  Tambu- 
ro'ne,  the  big  drum,  bass  drum  (also 
Cassa  grande). 

Tamis  (Fr.)     Pipe-rack  (organ). 

Tam-tam.  i.  A  gong. — 2.  A  Hindu 
drum  of  elongated  form.  (Also  Tom- 
tom.) 

Tan'delnd  (Ger.)  In  a  toying,  banter- 
ing style. 


TANGENT— TEMPERAMENT. 


195 


Tangent.  (Ger.  Tangen'te.)  In  the 
clavichord,  a  brass  wedge  fixed  in  the 
jack  on  the  rear  end  of  a  key  ;  on  de- 
pressing the  key,  the  tangent  struck  and 
rubbed  across  the  string,  and  remained 
bearing  on  it  until  the  finger  was  lifted, 
thus  both  producing  the  tone  and  fixing 
its  pkch.  .  .  7ai!gen'/c'/ry^/igc'l  ((Jer.),  a 
clavichord  shaped  like  a  grand  piano. 
Tanti'no  (It.)  A  little  ;  very  little. 
Tan'to.  (It.)  As  much,  so  much  ;  too 
(much);  allegro  71011  tanto,  not  too  fast 
(here  equiv.  to  troppo);  a  tanto  possl'- 
bilc,  as  much  as  possible. 
Tanz  (Ger.)  A  dsLWCt. .  .Tanz'tieder, 
dance-songs  ;  Tanz'stiicke,  dance-tunes 
(instrumental);  the  former  were  the 
original  form  of  dance-music  ( Taiiz'- 
timsik),  the  latter  being  at  first  mere  im- 
itations of  them.  (Comp.  Form  II,  3.) 
Tarantel'la  (It.),  Tarentelle  (Fr.)  A 
dance  of  southern  Italy,  in  6-8  time, 
the  rate  of  speed  gradually  increasing, 
and  the  mode  alternating  irregularly 
between  major  and  minor.  —  In  modern 
music,  an  instrumental  piece  in  3-8  or 
6-8  time,  very  rapid  tempo  {presto),  and 
bold  and  brilliant  style. 
Tardamen'te  (It.)  Slowly,  lingeringly. 
. .  Tardan'do,  Tarda' to,  see  Ritardan- 
do.  ..  Tar' do,  slow,  lingering. 
Tartini's     tone.     A     differential    tone 

(comp.  Acoustics). 
Tasch'engeige  (Ger.)     A  kit. 
Tasseau(Fr.;  Ger.  Herz.)  The  "mould  " 
on  which  ribs  and  blocks  of  a  violin  are 
set  up. 
Tastatur'     (Ger.),     Tastatu'ra     (It.) 

Keyboard,  fingerboard. 
Tas'te  (Ger.)     Key  (digital  or  pedal). . . 
Tas'  tenstabche7i,'he\..    (The  usual  term, 
Bund,  means  literally  the  space  between 
two  frets.) 
Tastie'ra  (It.)   Keyboard;  fingerboard. 
..Sulla  t.,  near   the   fingerboard    (di- 
rection in  violin-p'aying). 
Ta'sto     (It.)      I.      Key      (digital).— 2. 
Fret. — 3.     Touch. — 4.       Fingerboard  ; 
stil    iasto,    same    as    sitlla    tastier  a.  .  . 
Tasto  solo  (abbr.  t.  s.),"'  one  key  alone" ; 
a  direction  in  thorough-bass,  signifying 
that  the  bass  part  is  to  be  played,  either 
as  written  or  in  octaves,  without  choids 
(sign  0,  or  ^-'). 
Tattoo'.     Military  drum-signal  or  bugle- 
call  for  retiring  at  night. 
Te.     For  si,  in  the  Tonic  Sol-fa  system. 
T6CFr.)     Ciiiox  utdiese). 


Tech'nic,  Technique'.  (Ger.  Tech'nik^ 
All  that  relates  to  the  purely  mechani- 
cal part  of  vocal  or  instrumental  per- 
formance.— In  some  German  works 
treating  on  pfte. -technique,  a  distinc- 
tion is  made  between  Mecha'nik  (the 
merely  mechanical  drill  of  fingers  and 
wrist,  apart  from  its  application  in  play- 
ing), and  Technik  (the  acquired  skill 
and  dexterity  in  actual  performance). 

Tech'nicon,  A  finger-gymnasium,  or 
apparatus  for  training  and  strengthen- 
ing the  hands  and  fingers  of  players  on 
keyboard  instr.s  ;  inv.  in  1889  by  J. 
Brotherhood  of  Montreal,  Canada. 

Techniphone.  Earlier  name  of  the  (im- 
proved)  Virgil  Practice-Clavier  (q.  v.) 

Tede'sco,-a  (It.)  German.  .  .Alia  te- 
desca,  in  the  German  style  ;  "  the  term 
'  tedesca  ',  says  Bulow,  has  reference  to 
waltz-rhythm,  and  invites  changes  of 
time".  [Quoted  from  Grove.].  ..Z/ra 
tedesca,  hurdy-gurdy. 

Te  deum.     See  Ambrosian  Hymn. 

Teil  (Ger.)  A  ^2S^. .  .Teil'tone,  partial 
tones. 

Telephone-harp.  An  instr.  so  connect- 
ed with  a  telephone  as  to  render  music 
performed  at  a  distance  audible  to  an 
audience. 

Telltale.     See  Appendix. 

Te'ma  (It.)     Theme. 

Temperament.  (Ger.  Temperatur' ; 
Fr.  temperament ;  It.  icmperamen'to.) 
A  compromise  between  the  acoustic 
purity  of  theoretically  exact  intervals, 
and  the  harmonic  discrepancies  arising 
from  their  practical  employment. — E. 
g. ,  taking  the  tone  C  as  a  starting-point, 
and  ascending  by  quint-strides  through 
a  series  of  12  perfect  fifths  (C..j9JJ), 
we  reach  a  tone  {B%)  which,  on  instr.s 
of  fixed  intonation  (like  the  pfte.),  is 
identical  in  pitch  with  the  sixth  octave 
of  6'(c^),  but  which,  as  an  acousvic  in- 
terval, is  by  '*/7  3  higher  than  c^.  _  A 
similar  result  is  obtained  by  descending 
through  12  fifths  to  T^'^,  which  proves 
to  be  lower  by  ^^/js  than  the  corre- 
sponding lower  octave  of  C.  Now,  by 
setting  C  =  i>'S  =  />)f  <  ^^d  equally  dis- 
tributingthe  deviation  ^^/^s  among  the 
12  quint-tones  in  either  series,  i.  e.  by 
tempering  each  fifth,  the  deviation  for 
each  becomes  practically  unnoticeable 
on  keyboard  instr.s  ;  such  equal  distri- 
bution is  called  equal  temperament. — 
Another   example ;   The  tone   A\),   as 


196 


TEMPESTOSAMENTE— TEMPO-MARK. 


the  major  tierce  below  C,  has  the  ratio 
4:5;  the  tone  6^5,  as  tierce  of  the 
tierce  of  C,  has  25  ;  32  ;  that  is,  Cjf  is 
by  fit  =  I  ^  II  lo^er  than  Aq.-U 
it  be  attempted,  as  formerly,  to  take 
note  of  and  employ  in  practice  even 
only  the  most  noticeable  of  the  differ- 
ent shades  of  intonation  (e.  g.  by  build- 
ing keyboards  with  separate  keys  for 
fJJ  and  t/p,  d^  and  e\),  etc.,  etc.),  the 
tones  in  each  octave  of  our  keyboard 
instr.s  would  evidently  have  to  be 
greatly  increased  in  number  beyond  the 
ordinary  chromatic  scale  of  12  degrees. 
However,  a  perfect  fifth  {^ / 2)  differs 
from  a  tempered  one  by  only  about  %%\ 
[Helmholtz],  an  interval  close  to  the 
extreme  limit  of  perceptible  differences 
in  pitch,  and  the  use  of  such  an  inter- 
val instead  of  a  perfect  fifth  can  in  very 
few  cases  be  regarded  as  objectionable. 
In  the  system  of  equal  temperament 
the  series  of  fifths,  instead  of  going  on 
indefinitely,  returns  to  the  starting- 
point  C,  thus  forming  a  circle,  as  it 
were ;  this  progression  from  end  to 
end  of  the  series  is  called  the  Circle  of 
Fifths  : 

_C-a 


g-B^, 


c-E^ 


/-^b' 


P-b 


A-ft 


'E-ct 


FW& 


Unequal  temperament  is  a  system  in 
which  the  excess  in  the  series  of  fifths 
is  not  equally  apportioned,  some  inter- 
vals being  purer,  and  others  less  pure, 
than  in  equal  temperament.  In  the 
mean-tone  system,  once  extensively  em- 
ployed, the  major  thirds  were  tuned 
true,  and  divided  into  two  equal  tones 
forming  a  mean  between  the  greater 
anid  lesser  whole  tone,  hence  the  term 
mean-tone ;  each  fifth  was  ^  comma 
too  flat,  making  the  12th  in  the  series 
about  2  commas  out  of  tune,  this 
error  being  usually  laid  upon  the  fifth 
the  system  also  had  4  thirds 
which  were  too  sharp  by  near- 
-  ly  the    same    interval.     The 


discordant  effect  produced  by  chords 
containing  any  of  these  anomalous  in- 
tervals was  called  the  "  wolf  ". 

Tempestosamen'te  (It.)  Impetuously, 
passionately ;  tcinfesto'so,  impetuous, 
impassioned. 

Tempete  (Fr.,  "tempest".)  A  lively 
dance  of  modern  (Parisian)  origin,  in 
2-4  time,  and  danced  like  a  quadrille, 
with  some  modifications  of  the  steps. 
|Tem'po  (It.;  Ger.  Zcit'mass.)  i.  Rate 
of  speed,  Movement  i.  (Compare 
Tempo-marks.) — 2.  Time,  measure  ; 
beat.  .  .A  tempo,  or  tempo  primo,  return 
to  the  original  tempo.  . .  Tempo  alia 
bre've,  see  Breve;  alia  semibre've,  see 
T.  ordina'rio.  .  .  Tempo  bina'rio,  duple 
time.  . .  Tempo  com'modo,  at  a  conven- 
ient pace.  . .  Tempo  de'bole,  weak  beat. 
.  .  Tempo  di  Ballo,  Bole'ro,  Minuet' to, 
etc.,  see  Ballo,  etc.  . .  Tempo  di  primo 
par'te,  in  the  tempo  of  the  first  part. . . 
Tempo  fo/te,  strong  beat . . .  Tempo 
giu'sto,  see  Gins  to. . .  Tempo  maggio're, 
same  as  t.  alia  breve. .  .  Tempo  mino're, 
T.  ordina'rio,  (a)  4-4  time  of  4  beats 
to  the  measure  ;  opp.  to  t.  alia  breve; 
(b)  same  as  t.  primo .  .  .  Tempo  perdu' to, 
irregular,  unsteady  tempo. ..  7>w/<? 
primo,  primie'ro,  see  A  tempo,  above. 
. .  Tempo  reggia'to,  same  as  Co lla  parte. 
. .  Tempo  ruba' to,  see  Rubato.  .  .  Tempo 
tetna'rio,  triple  time. .  .Uistes'so  tempo, 
or  Lo  stesso  tempo,  the  same  tempo ; 
indicates,  at  a  change  of  rhythm,  that 
the  pace  remains  the  same.  (Comp. 
Istesso . ) . .  Scnza  tempo,  same  as  a 
place'  re. 

Tempo-mark.  (Ger.  Tem'pobezeichnung) 
A  word  or  phrase  indicating  the  pace 
or  speed  of  a  movement,  and  thus 
establishing  the  absolute  time-value  of 
the  notes. — Generally  accepted  tempo- 
marks  were  hardly  known  before  the 
beginning  of  the  17th  century,  and 
were  used  sparingly  until  the  i8th. — 
There  are  3  classes  :  (i)  indicating  a 
steady  rate  of  speed  ;  (2)  indicating 
acceleration  ;  (3)  indicating  a  slackening 
of  the  pace. — They  do  not  in  them- 
selves indicate  a  fixed  and  positive  rate 
of  speed,  but  only  the  general  character 
of  the  movement ;  consequently,  for 
the  sake  of  precision,  a  metronome- 
mark  is  often  added  to  the  tempo-mark ; 
e.  g.  "Adagio,  M.  M.  J=  56,"  sig- 
nifies a  tranquil  movement  in  which  a 
quarter-note  has  the  time-value  of  one 
beat  of  the  metronome  set  at  56.     Fur- 


TEMPORISER— TENORIST. 


197 


thermore,  various  qualifying  words  are 
added  (comp.  the  several  Key-words). 

CLASS  I. 
(Indicating  a  steady  rate  of  speed.) 

Larghis'simo,  molto  largo " 
Lar'go  (broad,  stately) 

Largamen'te 

Larghet'to 
Gra've  (heavy,  dragging)      [- 
Len'to  (slow) 

Adagis'simo 
Ada'gio  (slow   tranquil) 

Adagiet'to 

Andanti'no  1 

Andan'te  (moving,  going  along)  I 

[Modera'to]  | 

Allegret'to  I 

AUegramen'te 


Greup  I. 
General 

signification 

of  terms  is 

SLOW. 


Group  IL 
General 


Allegro     (brisk,      lively)     [con  }■  signification 


mo'to,    viva'ce]      [agita'to, 
appassiona'to] 
Pre'sto    (rapid)     [con     fuo'co, 
velo'ce] 
Prestis'simo 


of  terms  is 
FAST. 


CLASS IL 
(Indicating  acceleration.) 
Acceleran'do  (gradually  accelerating) 
Affreu?n'Moi^'"4<^!"'y  accelerating,  usually 
Incalzan'do   f     "'"'^  ^  crescendo.) 
Dop'pio  movimen'to  (twice  as  fast) 
Pill  mos'so  I  (a  steady   rate   of    speed,  faster 
Velo'ce        f     than  preceding  movement) 


CLASS  III. 
(Indicating  a  slackening  in  speed.) 


Rallentan'do 

Ritardan'do 

Largan'do 

Tardan'do 

Slentan'do 

Strascinan'do 

Ritenu'to 

Me'no  mos'so 

Calan'do 

Deficien'do 

Mancan'do 

Moren'do 

Sminuen'do 

Smorzan'do 


(gradually  growing  slower) 


(a  sudden  drop  to  a  slower  rate 
of  speed) 


(growing  slower  and  softer) 


Temporiser  (Fr.)  To  play  an  accomp. 
colla  parte. 

Temps  (Fr.)  Beat...?",  faible  {secon- 
daire),  weak  beat  ;  t.  fort  {sensible), 
strong  beat. 

Tempus  (Lat.,  "time".)  In  medieval 
music,  the  tempus  was  simply  tiie  time- 
value  of  the  breve  (except  in  case  of 
Alteration).  The  tempus  perfectum 
(sign  O  )>  ^'^s  the  original  kind,  in 
which  the  breve  was  equal  to  3  semi- 
breves  ;  in  the  tempus  imperfectum 
(sign  Q  )  later  introduced,  the  breve 
had  the  value  of  2  semibreves.  (Comp. 
Notation,  %■],.)..  Tempus  bina'rium 
(tenia' rium),  duple  (triple)  time. 

Ten'ebrse  (Lat.  pi. ,  "  gloom,  darkness  ".) 


In  the  R.  C.  Church,  the  lamentations 
(matins  and  lauds)  sung  especially  on 
Good  Friday  in  the  Sistine  Chapel, 
while  the  candles  burning  at  the  altar 
are  extinguished  one  by  one. 

Te'nero,-a  (It.)  Soft,  tender,  delicate. 
.  .  Teiicramen'te,  or  con  tenerez'za, 
tenderly,  delicately;  nearly  equiv.  todol- 
ce,  but  with  somewhat  more  of  passion. 

Teneur  (Fr.)  The  catito  f-rmo  in  a 
choral  or  hymn-tune. 

Ten'or.  (Ger.  Tenor' ;  Fr.  tenor  or 
taille;  It.  teno're.)  i.  The  high  nat- 
ural male  voice.  The  Germans  dis- 
tinguish 2  classes  of  tenors,  the  I/el'- 
dentenor  idram^Xxc  tenor),  and  ly'rischer 
Tenor  (lyric  tenor)  ; 
the  compass  of  the 
former  is  from  c  to  /''p 
the  voice  full  and  powerful  throughout, 
with  a  barytone  timbre  ;  the  range  of 
the  latter  is  ttv        -   \)  ...      the 

about  from 
d  to  e'^  (.--'5) 
tones  usually  rather  weak,  the  high  tones 
brilliant,  and  the  timbre  generally  bright 
and  pleasing.  The  Italian  terms  near- 
ly corresponding  to  the  above  are  (i) 
teno're  robu'sto,  tenore  di  for'za,  and 
(2)  tenore  di  gra'zia,  t.  leggie'ro;  but 
they  are  very  variously  and  arbitrarily 
employed. — 2.  The  part  taken  by  a 
tenor  voice  ;  hence,  by  transference,  a 
prefix  to  names  of  instr.s  taking  parts 
of  similar  compass,  as  tenor  trombone; 
specifically,  the  tenor  violin  (viola). — 3. 
Tenor  (from  Lat.  tenere,  to  hold), 
originally  "a  holding,  holding  fast", 
was  applied  to  the  melody  (as  the  un- 
changing part)  of  the  Gregorian  chants 
sung  by  men,  and  hence  to  the  high 
male  voice. — 4.  In  medieval  music, 
tenor  also  signified  (^)  a  hold  ;  {b') 
ambitus  (of  a  mode) ;  (r)  the  initial 
tone  of  the  EVOVAE. —  Tenor-C,  small 
c. .  .  Tenor-clef,  see  Clef. . .  Tenor  vio- 
lin, the  viola. 

Teno're  (It.)  Tenor  \...T.  buffo,  z. 
tenor  who  sings  comic  roles. . .  T.  con- 
tralti'no,  a  light  tenor  voice  resembling 
the  contralto  in  timbre. . .  T.  di  for'za, 
di  gra'zia,  leggie'ro,  robu'sto,  see  Tenor 
I. —  T.  di  fnezzo  carat' tere,  a  tenor 
voice  of  barytone  timbre  (see  Helden- 
tenor,  under  Tenor  l). 

Tenori'no  (It.)  A  falsetto  tenor  voice 
or  singer  ;  specifically,  a  castrato. 

Tenorist'  (Ger.;  Fr.  tenoriste;  It 
tenori'sta.)     Tenor-singer. 


IgS 


TENOROON— TETRAPHONY. 


Tenoroon',     The  oboe  da  caccia. 

Tenor'schlussel,  -zeichen  (Ger.)  Ten- 
or-clef. 

Tenth.  (Ger.  De'zhne;  Fr.  dixihtie;  It. 
(i/iima.)  I.  An  interval  of  an  octave 
plus  2  degrees. — 2.   Same  as  Deciiita  2. 

Tenu,  -e  (Fr.)     Held,  sustained. 

Tenue  (Fr.)  A  sustained  tone,  or  organ- 
point. 

Tenu'to  (It.,  "  held  ".)  A  direction  sig- 
nifying {a)  generally,  that  a  tone  so 
marked  is  to  be  sustained  for  its  full 
time-value  ;  and  {J')  occasionally,  h'gaio. 
..Forte  icmito  {ften.),  foi'le  through- 
out. . .  Tenuto-iiiark,  a  short  stroke  over 
a  note,  with  signification  as  at  {a). — 
Tc-nit/e  [/e  note  implied],  [the  notes] 
sustained  or  held. 

Tepidamen'te  (It.)  In  an  even,  unim- 
passioned  style. 

Teponaz'tli  (Aztec.)  A  species  of  drum 
still  used  by  the  aborigines  of  Central 
America  and  Mexico.  It  consists  of  a 
section  of  a  log  (left  round  in  the  ruder 
specimens,  but  carefully  squared  in  the 
more  artistic  ones)  in  a  horizontal  posi- 
tion, from  2  to  5  feet  long,  hollowed 
out  on  the  under  side  so  as  to  leave  the 
ends  3  or  4  inches  thick  and  the  top 
part  (belly)  a  few  lines  through  ;  in  the 
belly  2  parallel  incisions  are  made 
lengthwise,  and  connected  by  a  shorter 
one  crosswise,  the  3  assuming  the  shape 
of  the  letter  m .  The  2  tongues  left 
between,  when  struck  by  the  sticks, 
yield  2  different  tones,  at  an  interval — 
in  various  instr.s — of  a  third,  fourth, 
fifth,  si.xth,  or  octave  apart.  It  serves 
to  mark  the  rhythm,  and  as  an  imper- 
fect bass,  in  the  aboriginal  music.  It 
is  played  with  2  sticks,  the  heads  of 
which  are  covered  with  wool  or  an 
elastic  gum. 

Ter  (Lat.)  Thrice  ;  indicates  that  a  pas- 
sage, or  (in  songs)  a  verse  or  part  of 
one,  is  to  be  repeated  twice.  (Also  comp. 
Bis.). .  .  Ter  unca,  the  3-hooked  semi- 
fusa. 

Terce.  i.  See  Tierce  4. — 2.  The  3rd 
of  the  canonical  hours. 

Tercet  (Fr.)  A  triplet ; — in  poetry,  a 
group  of  3  rhyming  lines. 

Ter'nary.  (Fr.  tematre;  It.  ierna'rio) 
Composed  of,  or  progressing  by,  threes. 
. .  Ternary  form.  Rondo-form.  . .  Ter- 
nary measure,  simple  triple  time. 

Terpo'dion.      A     six-octave    keyboard 


instr.,  similar  to  Chladni's  clavicylinder, 
with  wood  substituted  for  glass  as  the 
tone-producing  medium  ;  inv.  by  J.  D. 
Buschmann  of  Berlin  in  1816. 

Ter'tia  (Lat.)  A  third  or  tierce. . .  Ter- 
tia  modi,  3rd  degree  of  a  scale. 

Tertian'.  (Ger.  Tertian  zwei'fach.) 
An  organ-stop  consisting  of  a  tierce 
and  larigot  combined. 

Terz  (Ger.),  Ter'za  (It.)  The  interval 
of  a  third. .  .  Terza  ma'no  (It.,  "  third 
liand  "),  an  octave-coupler. . .  Terzade'- 
ciina  (It.),  Tcrzde'zitne  (Ger.),  the  in- 
terval of  a  \)i\\x\.&fa.'Ca.. .  .Terzdezinio' le 
(Ger.),  a  tredecuplet. . .  Terzett'  (Ger.), 
Terzet'to  (It.),  properly,  a  vocal  (sel- 
dom an  instrumental)  trio;  now  gener- 
ally called  Trio. . .  Terz'JliUe  (Ger.),  a 
small  transverse  flute  pitched  a  third 
above  the  ordinary  flute . . .  Terzi'na 
(It.),  a  triplet. . .  Terzo  stio'no-(\X.?),  a 
differential  tone.  . .  Terzquartsext' ak- 
kord  (Ger.),  chord  of  the  third,  fourth, 

and    si.\th     4  . . .  Terzatcintsexi'akkord 

3  ^ 

(Ger.),  chord  of  the  (third),  fifth  and 

sixth  ,5,. . .  Terz' tone  (Gtv.,  pi.),  tierce- 
1.3)  *•         '  r   /' 

tones. 

Tessitu'ra  (It.,  "web,  framework"). 
The  region  covered  by  the  main  body 
of  the  tones  of  a  given  part,  infrequent 
high  or  low  tones  not  included.  The 
nearest  English  equivalent  is  to  say 
that  the  part  "  lies  "  high  or  low. 

Te'sto  (It.)  I.  .See  Soggetto. — 2.  Same 
as  Libretto. 

Tete  (Fr.)     Head  (of  a  note);  scroll. 

Tet'rachord.  i.  A  4-stringed  instr. — 
2.  The  interval  of  a  perfect  fourth. — 3. 
The  scale-series  of  4  tones  contained  in 
a  perfect  fourth  (comp.  Greek  ntusic). 
.  .  Tetrachor'dal,  relating  to  or  consist- 
ing of  tetrachords.  .  .  Tetrachordal  sys- 
tfin,  the  original  form  of  the  Tonic  Sol- 
fa  system. 

Tetrachor'don  (Gk.)  i.  A  tetrachord. 
— 2.  A  variety  of  the  piano-violin. 

Tet'rad.  A  name  suggested,  but  not  to 
any  extent  adopted,  for  chord  of  the 
seventh; — analogous  to  Triad. 

Tetradiapa'son.  The  interval  of  4 
octaves.  (Also  quadruple  diapason, 
octave,  or  eighth.) 

Tet'raphone.     See  Tetratone. 

Tetrapho'nia.    See  Organum. 

Tet'raphony.  (Medieval.)  Diaphony 
for  4  parts. 


TETRATONE— TIME. 


T99 


Tet'ratone.  An  interval  embracing  3 
whole  tones  ;  an  augm.  fourth. 

Text.     The  words  of  vocal  music. 

Theil  (Cxer.)     See  Teil. 

Thematic  composition.  A  style  based 
on  the  contrapuntal  treatment  or  de- 
velopment of  one  or  more  themes. 
rTheme.  (Ger.  The'ma,  Fr.  thhne;  It. 
t/ma  )  Same  as  Subject. — Specifically. 
a  theme  is  an  extended  and  rounded-off 
subject  with  accompapiment,  in  period- 
form,  proposed  as>^»-^r.oundwork  for 
elaborate  variations  {tenia  con  varia- 
zio'ni). 

Theor'bo.  (Ger.  Theor'be;  Fr.  theorbe. 
It.  tior'ba,  tuor'ba.)  One  of  the  various 
double-necked  bass  lutes  so  popular  in 
the  17th  centur)',  the  bass  strings  (ac- 
companiment-strings, diapasons)  of 
which  were  not  stopped  on  the  finger- 
board, but  were  stretched  beside  it  to  a 
separate  peg-box,  which  latter,  in  the 
theorbo,  lay  next  to  the  other,  though 
somewhat  higher  up  in  the  head.  In 
its  day  it  was  an  important  member  of 
the  orchestra.     (Comp.  Lute.) 

The'sis  (Gk.)  The  down-beat,  strong 
beat. 

Third.  (Ger.  Terz;  Fr.  tierce;  It. 
ter'za.)  See  Interval. — The  third  in  a 
diatonic  scale  is  also  called  the  mediant. 

Thirteenth.  An  interval  embracing  an 
octave  and  a  sixth  ;  a  compound  sixth. 

Thirty-second-note.  (Comp.  Note^ 
A  note  having  half  the  time-value  of  a 
i6th-note  ;  a  demisemiquaver. .  .j".3«(/- 
rest,  a  rest  (^)  corresponding  in  value 
to  the  above. 

Thorough-bass.  (Ger.  General'bass; 
Fr.  basse  chifree;  It.  basso  conti'nuo.) 
A  species  of  nius.  shorthand  in  which 
chords  are  indicated  by  figures  written 
over  a  running  bass  (briefly  explained 
under  Chord).  It  originated  in  Italy 
{basso  continuo,  or,  for  short,  contintio) 
toward  the  close  of  the  i6th  century, 
and  for  200  years  was  the  common 
method  of  notation  for  accompaniments 
by  the  organ  or  cembalo.  It  is  now 
principally  employed  in  mus.  theory,  in 
teaching  the  science  of  chords. 

Three-lined  octave.     See  Pit^  h,  abso 

lute. 
Three-quarter    fiddle.       See     Violino 

piccolo,  under   Violino. 

Three-time,  3-time.     Triple  time. 


A  song  of  lamentation  ;  a 
See    Pitch, 


Thren'ody. 

dirge. 

Thrice-accented  octave. 

absolute. 

Thumb-position.  One  of  the  high  po- 
sitions in  'cello  playing,  in  which  the 
thumb  quits  the  neck  of  the  instr. 

Thumb-string.  Melody-string  of  the 
banjo. 

Tib'ia  (Lat.)  The  direct  flute  ;  also,  the 
name  of  various  organ-stops ...  7".  utri- 
cula'ris,  the  bagpipe.  .. /'//'iV^w  (pi. 
tibi'cines),  a  flute-player. 

Tie.  (Ger.  Bin'dcbogen;  Fr.  liaison; 
It.  fa'scia.)  A  curved  line  joining  2 
notes  of  like  pitch  which  are  to  be 
sounded  as  one  note  equal  to  their 
united  time- value.  ..  ?"/>(/  notes,  (a) 
notes  joined  by  a  tie  ;  {h)  notes  (like 
eighth  -  notes,  i6th- notes,  etc.)  the 
hooks  of  which  are  run  together  in  one 
or  more  thick  strokes,  e.  g.    J  J  J  J. 

TjsX^G©!'.)     Deep,  low,  grave. 

Tier.     Same  as  Rank  (organ). 

Tierce,  i.  Same  as  Third. — 2.  The 
fourth  harmonic  of  a  given  tone. — 3.  In 
the  organ,  a  mutation-stop  pitched  2| 
octaves  above  the  diapason  ;  now  used, 
if  at  all,  as  a  component  of  a  mixture- 
stop. — 4.  One  of  the  canonical  hours. 
.  .  Tierce-tones,  see  Pitch,  §2. 

Tierce  (Fr.)  Tierce  i  and  \...T.de 
Picardie,  a  major  third  in  the  closing 
chord  of  a  minor  movement.  . .  T.  cou- 
lee (slurred  third),  a  grace  written^ (^« 

descendant);    see 


•^(^ 


montant), 

Slide. 
Tige  (Fr.)     Stick  (of  bow) ;  also  baguette. 

Timbalarion  (Fr.)  A  set  of  3  drums  of 
different  sizes,  each  furnished  with  a 
pedal,  on  which  diatonic  and  chromatic 
scales,  and  some  chords,  can  be  played. 
Also  Tambour  chromatique. 

Timbale  (Fr.),  Timbal'lo  (It.)  Kettle- 
drum. 

Timbre  (Fr.;  It.  tim'bro.)  I.  Quality  of 
tone. — 2.  A  fixed  bell  without  a  clap- 
per, struck  from  outside  by  a  hammer. 
.  .Jeux  de  timbres.  Glockenspiel  {b). — 
3.   Snare  (of  a  drum). 

Timbrel.     A  tambourine. 

Time.  i.  Same  as  Tempo. — 2.  (Ger. 
Takt,      Takfart;     Fr.      mesure;    It. 


300 


TIME. 


iem'fo.)  The  division  of  the  measure 
into  equal  fractional  parts  of  a  whole 
note  (<=>),  forming  a  standard  for  the 
accentuation  or  regular  rhythmic  flow 
of  the  movement.  The  sign  for  time 
is  called  the  time-signature,  and  is 
usually  in  the  form  of  a  fraction  set 
immediately  after  the  clef  at  the  begin- 
ning of  the  movement,  the  numerator 
indicating  the  number  of  notes  of  a 
given  kind  in  each  measure,  while  the 
denominator  shows  the  kind  of  notes 
taken  as  the  unit  of  measure  ;  e.  g.  \ 
(three-four  time)  means  3  quarter-notes 
to  a  measure,  |  J  J  J  ];  is  (t^elve-six- 
teen  time)  means  12  sixteenth-notes  to  a 
measure,  |  J^^^  JHTt^  I'  ^^C- 
Among  the  numerous  systems  of  no- 
menclature the  ordinary  English  meth- 
od is  still  that  most  in  use,  and  is  em- 
ployed throughout  this  Dictionary ; 
some  others  are  appended  for  the 
purpose  of  comparison. — There  are 
2    classes  of  time,  Duple  and    Triple. 


In  Duple  time  the  nutnber  of  beats  to 
the  measure  is  divisible  by  2  ;  in  Triple 
time,  by  3.  There  are  also  2  sub- 
classes, Compound  Duple  time,  and 
Compound  Triple  time.  In  compound 
duple  time  the  number  of  beats  to  each 
measure  is  still  divisible  by  2,  but  each 
beat  contains,  instead  of  an  ordinary 
note  divisible  by  2,  a  dotted  note  (or  its 
equivalent  in  other  notes  or  rests)  divis- 
ible by  3  ;  hence  the  term  cotnpound, 
each  simple  beat  being  represented  by 
a  dotted  or  compound  note  divisible  by 
3,  instead  of  a  simple  note  divisible  by 
2.  In  compound  triple  time  not  only 
the  number  of  beats  in  each  measure  is 
divisible  by  3,  but  also  each  beat,  as 
above.     (See  Table  on  p.  201.) 

Another  English  classification  is  the 
following  ;  it  contains  the  times  ordi- 
narily employed,  to  which  should  be 
added  siniple  octttple  time  I,  and  com- 
pound octuple  ti7ne  (ig),  both  with  eight 
beats  to  the  measure  : 


(From  Troutbeck  &  Dale's  Music  Primer.) 


4J 
''Si 

c 
§ 

E 

0 
U 

Duple. 

Triple. 

Quadruple. 

:  J  J 
3  >  > 

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\       J         J         J 

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e»jj  J  J  J 

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A  proposition  made  in  the  above 
work,  to  indicate  the  compotind  times 
by  the  same  signatures  as  those  of  the 


simple  times,    merely    adding  a  dot  to 
the  denominator  to  show  the  tripartite 

division  : 


C 
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:.  J.  J.  J.  J. 

5-  .^ ;«.  J.  .f. 

TIME. 


Triple  Time. 

Dup 

e  (or  Common 

Time. 

Compound. 

Simple 

Compound. 

Simple. 

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TIMIDAMENTE— TON. 


is  deserving  of  notice  as  an  ingenious 
way  of  marking  the  number  and  posi- 
tion of  the  beats  ;  the  measure. note 
being  found  in  each  case  by  multiplyin; 
the  denominator  by  2. 

Still  another,  and  highly  ingenious, 
system,  by  Mr.  Frederick  Niecks,  is 
given  below  ;  for  the  terms  duple  and 
triple  he  substitutes  binary  and  ternary, 
referring,  not  to  the  number  of  beats, 
but  to  the  grouping  of  the  measure- 
notes   in  twos  and  threes. 

Simple-  Times. 
Simple  Binary  Time     fill 
lernary  2   4   s   la 

Compound  Times. 
Duple  Binary  Time      \     \     \ 

"      Ternary    "        %     \     %    A 
Triple  4     8    16 

Quadruple  "  "  V  V  le 
Finally,  a  system  has  been  suggested 
in  which  the  word  rhythm  is  substi- 
tuted for  time;  duple  and  triple  retained 
for  the  simple  forms  of  the  measure  ; 
while  the  complex  forms  are  called 
quadruple  rhythm,  sextuple  rhythm, 
octuple  rhythm,  etc. — However,  the  de- 
sideratum of  any  new  system,  i.  e.  the 
plain  expression  of  the  number  of 
beats  to  the  measure  as  well  as  of  the 
number  of  notes  of  a  given  kind,  is  not 
yet  attained  ;  and  well-meant  half-re- 
forms serve  only  to  make  confusion 
worse  confounded. .  .2-time,  j-ti me,  a.h- 
breviations  of  duple  and  triple  time 
respectively. 
Tiinidamen'te  (It.)    See  Angstlich. 

Timidez'za,  con  (It.)  In  a  style  ex- 
pressive of  timidity  or  hesitation. 

Timoro'so  (It.)  Timorous,  fearful... 
Timorosamen'te,  timorously,  etc. 

Tim'pano  (It.,  pi.  iim'pani.)  Kettle- 
drum...  7'//«/^i«/  coper' ti,  muffled 
drums. 

Tintinna'bulum  (Lat.),  Tintinna'bolo 

(It.)  A  small  bell.— Also,  an  ancient 
rattle,  formed  of  little  bells  or  small 
disks  of  metal. 

Tintinnamen'to,  Tintinni'o  (It.)  A 
tinkling  or  jingling. 

Tin'to,  con  (It.)  With  shading  ;  espres- 
sivo. 


Theorbo. 


Tior'ba  (It.) 

Tirade  (Fr.)  An  extended  slide  ;  a  rapid 
run  connecting  two  melody-notes. 

Tirant  (Fr.)  I.  Stop-knob. ..  7".  <i  a<:- 
coupler,  coupler. — 2.  Button. — 3.  Cord 
of  a  drum. 

Tirar'si,  da  (It.,  "to  be  drawn  out".) 
Equiv.  to  the  prefix  "slide-"  in  the 
phrase  tromba  da  tirarsi  (slide-trumpet) 
and  the  like. 

Tirasse  (Fr.)  In  small  organs,  a  pedal- 
keyboard  having  no  pipes  of  its  own, 
acting  only  on  the  lower  keys  of  the 
manual  ;  also,  a  pedal-coupler. 

Tira'ta  (It.)     See  Tirade. 

Tira'to  (It.)     Down-bow  {area  in  giii). 

Ti'ra  tut'to  (It.)     A  combination-pedal 
or  draw-stop  bringing  on  the  full  power 
of  an  organ.     (Fr.  grand  jeu.) 
Tir6  (Fr.,  "  drawn.")    Down-bow.    Also 

tirez,  "  draw." 
Tischliarfe   (Ger.,    "table-harp".)     A 

variety  of  autoharp. 
Tocca'ta  (It.,   from  focca're,  to  touch.) 
An  early  species   of   composition    for 
keyboard   instr.s,    originating   in  Italy 
toward  the  close  of   the  i6th  century. 
In  style  it  is  free  and  bold,  approach- 
ing the   (old)   fantasia  ;  it   has  no  dis- 
tinctive form,  but  consists  of  runs  and 
passages    alternating    with    fugued   or 
contrapuntal  work,  built  up  in  the  more 
elaborate    specimens    on   a    figure   or 
theme,  generally  in  equal  notes,  with  a 
flowing   style  and   lively,  rapid   move- 
ment.—  Toccati'na,  Toccatel  la,  diminu- 
tives of  Toccata. 
Tocca'to     (It.)       In   trumpet-music,   a 
fourth  (bass)  trumpet-part  added  as  a 
substitute  for  the  kettledrums. 
To'(d)tenmarsch   (Ger.)     Dead-march. 
Ton  (Ger.)     Atone;   pitch  ;  key,  mode, 
octave-scale. .  .Z>t'«    Ton    angeben,    to 
give  the  pitch  ;  den  Ton  halten,  to  keep 
the    pitch. . .  Ton'abstand,    interval. . . 
Ton'art,    Key    I  ;    Ton' artenverwand- 
schaft,  key-relationship . . .  Ton'bestim- 
mting,  the  (mathematical)  dstermination 
of  tones . .  .  Ton'bildung,  {a)  production 
of  tone  ;  (/')  vocal  culture. . .  Ton'dichier, 
composer ;    Ton'dichtung,  composition. 
. .  Ton' fall,    see    Ton'schluss.  .  .  Ton'. 
farbe,  "tone-color",   timbre,    quality. 
. .  Ton'folge,    series    or    succession  of 
of  tones. . .  Ton'fuhrung,  melodic  lead- 


TON— TONIC. 


203 


ing  or  progression . . .  Ton' fuss,  (a)  a 
rhythm  ;  {b)  a  measure .  . .  Ton'gebttng, 
production  of  tone  ;  intonation.  .  .  Ton'- 
geschlecht,  mode;  "  the  distinguishing 
of  a  chord  or  key  (tonality)  as  major  or 
minor"  [Riemann].  .  .  Ton' hdhc.  pitch. 
.  .  Ton' kunde,  science  of  music. .  .  Ton'- 
kunst,  art  of  music,  musical  art ;  music. 
.  .  Ton'kunstler,  musician. .  .  Ton'lage, 
pitch  ;  register .  . .  Ton'leitcr,  a  scale  ; 
funfsliifige  Tonleiter,  pentatonic  scale. 
.  .  Ton' loch,  a  ventage.  . .  Ton' male  re  i , 
"  tone-painting",  imitative  music,  pro- 
gram-music .  . .  Ton'messer,  monochord ; 
sonometer;  s\ren.  .  .To)i'messu>ig,  see 
Ton' bestimmiing . . .  Ton' rein  (of  violin- 
strings),  true  to  pitch,  true  fifths. . . 
Ton'satz,  composing  ;  composition . .  . 
Ton'schhiss,  cadence...  Ton'setzer,  com- 
poser. . .  Ton'sctzkunst,  art  of  composi- 
tion . . .  Ton'sprache,  the  language  of 
tones  (i.  e.  music) .  . .  Ton'stiick,  piece 
of  music,  composition. ..  Ton's t life, 
degree  (of  a  scale). .  .  Ton' system,  sys- 
tem or  theory  of  musical  tones. . .  Ton'- 
umfang,  compass. . .  Ton'tinterschied, 
interval. ..  Ton' vertvandsc haft,  relation 
or  affinity  of  tones. . .  Ton'verziehitng, 
tempo  rubato.  . .  Ton'werkzetig,  a  mu- 
sical instr.,  either  natural  (voice)  or  2>xX\- 
ficial. . .  Ton'zekhen,  a  note  or  other 
sign  representing  a  tone. 

Ton  (Fr.)  I.  Tone ;  pitch ;  donner  le 
ion,  to  give  the  pitch. — 2.  Mode. — 
3.  Scale,  key. — 4.  A  crook  {ton  de  re- 
change). — 5.  (Formerly)  a  tuning-fork. 
. .  Ton  bouch^,  stopped  tone  (horn) . . . 
Ton  d'/glise,  church-mode. . .  Ton  de 
rechange,  zxooV.  ..Ton  entier,  whole 
tone. . .  Ton  feint,  see  Fictuvi. . .  Ton 
majeur  (jnineur),  a  major  (minor)  key. 
. .  Ton  ouvert,  open  or  natural  tone  (on 
a  wind-instr.). . .  7"(:w  relatif,  related 
\ity...Ton  ght^rateur,  one  of  the  7 
natural  tones. 

Tonal.  Pertaining  to  tones,  or  to  a  tone, 
mode,  or  'key ...  Tonal  fugue,  see 
Fugue ...  7"!?;;^/  imitation,  imitation 
not  overstepping  the  limits  of  the  key 
of  a  composition  ;  non-modulating  imi- 
tation. 

Tonal'Ity.  (Ger.  Tonalitdt' ;  Fr.  tonal- 
ity.') The  term  T"!?;/*?///)',  as  contrasted 
with  Key,  is  distinguished  by  its  broader 
significance  and  wider  scope.  Kev  de- 
notes simply  the  inode  (of  a  piece)  and 
the  pitch  of  that  mode  ;  strictly,  it  re- 
fers solely  to  the  harmonies  constructed 
from  the  tones  of  its  own  diatonic  scale. 


On  quitting  these  harmonies,  even  by 
touching  an  "altered  chord",  it  tres- 
passes on  the  domain  of  tonality  ;  for — 
here  is  the  dividing  line — key  embraces 
the  diatonic  harmonies  referable  to  one 
tonic  chord  as  the  point  whence  they 
depart  and  whither  they  return,  whereas 
tonality,  taking  this  same  tonic  chord 
as  a  starting-point,  includes  any  and 
every  harmony  related  to  it,  so  long  as 
no  actual  change  of  tonic  is  brought 
about  by  a  modulation.  Tonality  nii^t 
therefore  be  briefly  defined  as  the 
chords  grouped  around  and  attracted  by 
one  central  tonic  chord,  and  thus 
appears  as  founded  upon  the  relations 
of  chords  independent  (in  a  measure) 
of  key.     (Comp.  Phone,  g  4.) 

Tone.  (Ger.  Ton;  Fr.  son,  ton;  It. 
tuo'no,  suo'no)  See  Acoustics. . .  Tone- 
color,  quality  of  tone. 

Tongue.  i  (noun).  Same  as  Reed; 
but,  in  the  so-called  reed  of  an  organ- 
pipe,  the  tongue  is  the  vibratile  slip  of 
metal  producing  the  tone. — 2  (j'crb). 
To  employ  the  tongue  in  producing, 
modifying,  or  interrupting  the  tone  of 
certain  wind-instr.s.  .  .  7'ii;;^««;/^,  the 
production  of  effects  of  tone,  on  wind- 
instr.s,  by  the  aid  of  the  tongue.  Si^igle- 
tonguing,  the  effect  obtained  by  the  re- 
peated tongue-thrust  to  the  nearly  in- 
audible consonant  lord;  Double-tongu- 
ing,  that  obtained  by  the  repetition  of 
/  k;  Triple-tonguing,  hy  t  k  t;  etc. 
With  reed-instr.s,  single-tonguing  only 
is  applicable. 

Ton'ic.  (Ger.  To'nika;  Fr.  tonique;  It. 
to'nica.)  i.  The  key-note  of  a  scale. — 
2.  In  the  new  system  of  harmony,  the 
tonic  chord  (in  C-major  the  major  triad 
on  C;  in  C-minor  the  minor  triad  on  C) 
is  designated  as  the  tonic.  (Comp. 
Phone.).  .  Tonic  chord,  one  having  the 
key-note  as  root . . .  Tonic  pedal,  organ- 
point  on  the  key-note. . .  Tonic  section, 
a  section  or  sentence  in  the  key  in 
which  a  composition  began,  with  a 
cadence  to  the  tonic  of  that  key... 
Tonic  Sol-fa,  a  method  of  teaching 
vocal  music,  inv.  by  Miss  Sarah  Ann 
Glover  of  Norwich,  England,  about 
1S12,  and  perfected  by  the  Rev.  John 
Curwen,  who  became  acquainted  with 
the  method  in  1841. — Its  formal  basis 
is  the  "movable-Do"  system  ;  the  7 
usual  solmisation-syllables  are  employ- 
ed, but  Englished  as  follows 

doh  ray  me  fah  soh  lah  te  *, 


204 


TONIC. 


each  is  represented  in  notation  by  its 
initial  letter  (d  r  m  etc.),  to  which  a  verti- 
cal dash  is  added  above  or  below  when  a 
higher  or  lower  octave  is  entered  ;  thus 
S|  d  d'  in  a  soprano 
part  would  be  equiva- 
lent, in  C-major,  to 
For  teaching  the  tones  and  modulation, 
these  tone-names  are  arranged  in  a 
musical  chart  called  a  Modulator : 


rt=: 


d' 

fi 

t 

— 

m' 

~  1 

1 

— 

r' 

—  s 

s 

f 

ta 

DOH' 

TE 

le 

—  f 

—  m 

m 

— 

LAH 

-    r 

1 

r 

d 

a 

se 

SOH 

bafe 
FAH 

—  d 

t| 

— 

ME 

-ll 

9| 

ma         re 

-=.  RAY 

de 

—  DOH 

-  fi 

f| 

t| 

—  nil 

m. 

— 

li 

-    n 

-d, 

tj 

— 

m. 

—  u 

This  arrangement  shows  the  exact 
position  of  each  tone  in  its  relation  to 
the  key-tone  ;  in  fact,  the  fundamental 
principle  of  the  method  is  key-relation- 
ship, and  that   the  character  of  every 


tone  is  decided  by  the  relation  which  it 
holds  to  its  tonic,  the  name  Tonic  Sol- 
fa  signifying  "  solfaing  according  to 
the  tonic  principle".  The  system  of 
tonic  sol-fa  insists  upon  the  mental 
effect  of  each  tone  in  relation  to  the 
tonic,  i.  e.  the  pupils  are  taught  to 
recognize  the  tones  of  the  scale  by 
observing  the  mental  impressions 
peculiar  to  each. — The  parallel  columns 
of  the  Modulator  show  the  relation  of 
key  to  key,  and  may  be  extended 
through  all  the  sharp  and  flat  keys,  the 
former  lying  to  the  right,  the  latter  to 
the  left  of  the  central  column.  Sharped 
tones  take  the  sharp  vowel  e,  flat  tones 
the  broad  vowel  a  (ah).  In  modulating, 
so-called  bridge-tones  are  added  in  the 
notation  in  the  form  of  small  letters  in- 
dicating the  relation  of  the  modulating 
tone  to  the  key  just  left,  the  large  letter 
showing  the  relation  of  the  tone  to  the 
new  tonic  ;  thus  'd  means,  that  soh  of 
the  old  key  is  doh  of  the  new,  as  in 
modulating  from  C-major  to  C-major. 
For  a  mere  chromatic  passing-note, 
however,  or  a  transient  modulation,  the 
chromatic  syllables  are  employed  In 
the  printed  notation,  equal  spaces  rep- 
resent equal  times,  and  fractions  of 
time  are  shown  by  fractions  of  space  ; 
the  beats  ("pulses")  are  represented 
by  regular  intervals  of  space.  A  thick 
bar  marks  the  primary  accent  (strong 
pulse)  ;  the  weak  pulse  is  preceded  by 
a  colon  ;  a  shorter  bar  marks  the  sec- 
ondary accent ;  a  dot  midway  in  a  pulse- 
space  marks  a  half-pulse  ;  and  quarter- 
pulses  are  marked  by  commas.  The 
continuation  of  a  tone  is  indicated  by  a 
dash,  while  a  rest  (silence)  is  left  simply 
as  a  blank  space. — In  lieu  of  protracted 
explanations,  the  hymn  ''America"  is 
here  appended  in  the  Tonic  Sol-fa 
notation  : 


GOD    SAVE    THE    QUEEN. 
(America.) 


Key  A. 

s. 

d     :      d     : 

r 

t| 

;  -  .d    :     r 

m     : 

m 

c. 

S|     :      s,     : 

God         save 

1| 

our 

9| 

gra    - 

:  -  .fe,  :      s, 

cious     Queen, 

d      : 

Long 

d 

live 

T. 

m    :      d      : 

f 

r 

:  -  .r          r 

S 

1 

B. 

d,    :      m,   : 
(My        coun 

•    try. 

'tis 

:-  -ll     ■■     t, 

of           thee, 

d      : 

Sweet 

1. 

land 

Arr.  by  Harry  Benson. 
f 
d 

our 


m 

:-  .r 

:    d 

d 

:-.t, 

:     d 

0 

-      ble 

Queen, 

S 

:-.f 

:     m 

S| 

:-.se 

'■      '• 

li 

-      ber 

-    ty.     j 

TONISCH— TRACT. 


205 


1. 

God 


Hap 


Land 


thee 
f 


and 


Si 
Queen 


sing. 


s 

:     S 

S 

S 

:-.f 

m 

d 

:     d      : 

d 

d 

:  -  .t| 

:     d 

Send 

her 

vic- 

to 

n 

ous, 

m 

:     m     : 

m 

m 

:  —  .r 

:     d 

d, 

:     m,    : 

S| 

d 

•.-.d 

:     d 

Land 

where 

my 

fa 

thers 

died, 

-.d 


-.S| 


ti 

ous, 


f.m    :    r.d 
s 


Long 
d 


ti.d 


S|.d 

reign 

r.m 


-    grims'     pride,  I  From 


r^     :  t|.j|^ 

ev'      -     ry 


m     :-  .f 
d.l|  :    Si.f, 


ver 


d      :  -.r 
S|.f|  :  mi.r. 


d 

side  , 


rallentando 
l.s,f:      n 


d 
God 

fl 

Let 


d 

save 


tl 

the 


d      ;    — 


d      :    —    :     — 


Queen  ! 


S|     d|     : 

dom  ring  !) 


Despite  Strenuous  opposition,  the  Tonic 
Sol-fa  method  continues  to  spread  ;  and 
it  deserves  to,  having  triumphantly 
proved  its  thorough  excellence  both  in 
principle  and  practice. 

To'nisch  (Ger.)  Tonic,  i.  e,  pertaining 
to  the  tonic. 

To'no  (It.)     Tone  ;  key. 

To'nos  (Gk.),  To'nus  (Lat.)  i.  Atone 
(whole  tone,  major  second). — 2.  A 
mode. 

Toquet  (Fr.)     Toccato. 

Tostamen'te  (It.)     Rapidly  and  boldly. 

To'sto  (It.)  The  phrase  piii  iosto  is 
used  by  Beethoven  in  the  sense  of 
"rather",  "quasi";  as  Allegro  molto, 
pill  iosto  presto,  "very  fast,  jtearly 
presto^ 

Touch.  (Ger.  An'schlag;  Fr.  toucher; 
It.  ta'sto.)  The  method  and  manner  of 
applying  the  fingers  to  the  digitals  of 
keyboard  instr.s. 

Touche  (Fr.)  i.  A  key  (digital). — 2  A 
fret. — 3.  A  fingerboard,  either  with  or 
without  frets. 

Toucher  (Fr.)     i  {verb).     To  play,  as 


toucher  le  piano.  {Jouer  is  the  univer- 
sally applicable  and  more  modern  term.) 
— 2  {noun).  Touch,  manner  of  ma- 
nipulation. 

Touchette  (Fr.)     Fret. 

Toujours  (Fr.)     Same  as  Sanpre. 

Tourmente,-e  (Fr.)  Overdone  ;  as  by 
an  overplus  of  eccentricity,  ornamenta- 
tion, unusual  or  disconnected  harmo- 
nies, oddities  of  instrumentation,  and 
the  like. 

Tourniquet  (Fr.)     Plug  or  cap. 

Toy  Symphony.  (Ger.  Kin'dersinfonie; 
Fr.  Foire  dcs  En f ants.)  The  original 
toy  symphony  was  written  by  Haydn  in 
1788,  with  parts  for  6  toy  instr.s  (a 
cuckoo-pipe,  playing  c  and  ,;'■,  a  quail- 
call  in  f,  a  trumpet  and  drum  in  6",  a 
whistle,  and  a  triangle),  with  2  violins 
and  a  double-bass.  Key,  f-major. — It 
has  been  variously  imitated. 

Trackers.  (Ger.  Abstrak'ten;  Fr. 
abrdgh.)     See  Organ. 

Tract.  (Lat.  tractus.)  An  anthem  on 
verses  usually  taken  from  the  Psalms, 
substituted,     from     Septuagesima      to 


2o6 


TRADOTTO— TREIZIEME. 


Easter  eve,  for  the  Gradual,  or  for  the 
Alleluia  foUowinjj  the  Gradual,  in  the 
R.  C.  and  some  other  services. 

Tradot'to  (It.)     Arranged  ;  transposed. 

Tra'gen  der  Stimme  (Ger.)  Port  de 
voix. 

Train6  (Fr.)  Slurred. .  .  Trainee,  same 
as  Schlcifer  {b). 

Trait  (Fr.)  i.  Tract. — 2.  Passage  ;  vocal 
or  instrumental  run...  7".  de  chant, 
melodic  phrase...  7^.  if hm-7)wnit\  a 
chord-passage. — 3.  An  old  form  of  the 
trill-sign  ('^'vv)  ;  aXso  plique. 

Traktur'  (Ger.)  In  the  organ,  the  in- 
terior key-action,  especially  the  trackers. 

Tranch6,-e  (Fr.)  Cut,  crossed...  C- 
iranche  (obsolete  ;    now   C-lnirrJ),  the 

sign  0 

Tranquillamen'te  (It.)  Tranquilly,  in 
a  quiet  style;  also  con  tranqidllita' .  .  . 
Tranquil' lo,  tranquil  ;  often  (with 
Beethoven)  equiv.  to  modcrato. 

Transcription.  i.  The  arrangement 
or  adaptation  of  a  composition  for  some 
voice  or  instr.  other  than  that  for  which 
it  was  originally  intended. — 2.  (Fr.) 
Transcription  tiniformc,  the  uniform 
notation  of  transposing  instr.s,  peculiar 
to  the  French  military  bands,  attained 
by  noting  them  all  in  the  C-clef,  i.  e. 
an  octave  higher  than  the  ordinary 
method. 

Transient.  Passing,  not  principal  ;  in- 
termediate ;  as  a  transient  modulation. 

—  Transient  chord,  in  modulation,  an 
intermediate  chord  foreign  both  to  the 
key  left  and  that  reached.  .  .  Transient 
modulation,  a  temporary  modulation 
soon  followed  by  a  return  to  the  key 
left. 

Transition.  (Lat.  transi'tio;  Fr.  tran- 
sition.') I.  Modulation  ;  specifically, 
a  transient  one. — 2.  In  Tonic  Sol-fa, 
a  modulation  without  change  of  mode. 

Tran'situs  (Lat.)  "  A  passing-through". 

—  Tr.  regula'ris,  progression  by  pass- 
ing-notes ;  tr.  irregula'ris,  progression 
by  changing-notes. 

Transpose.  (Ger.  transponie'ren;  Fr. 
transposer ;  It.  variay'  il  iuo'no.)  To 
perform  or  write  out  a  composition  in  a 
different  "kfty ... 'J'ransposed  mode,  one 
of  the  medieval  modes  transposed  (by  a 
Bi)  in  the  signature)  a  fourth  above  or 
fifth  below  its  regular  pitch.  An  added 


T!^  raised  the  new  pitch  by  a  fourth, 
i.  e.  lowered  the  original  pitch  by  a  tone. 

Transposing  Instruments,  i.    Those 

the  natural  scale  of  which  is  always 
written  in  6^-major,  regardless  of  the 
actual  pitch. — 2.  Instruments  (chiefly 
with  keyboards,  as  the  pfte.,  harpsi- 
chord, etc.)  having  some  device  by 
which  the  action  or  strings  can  be 
shifted  so  that  higher  or  lower  tones  are 
produced  than  when  they  are  in  the 
normal  position .  . .  Transposing  scales, 
see  Greek  music. 

Transpositeur  (Fr.)  i.  A  transposer. — 
2.  A  mechanism  attached  to  the  valve- 
horn  as  a  substitute  for  the  numerous 
crooks  generally  used  ;  inv.  by  Gau- 
trot. — 3.  The  transposing  keyboard  of 
ihepiano  transpositeur^  inv.  by  Auguste 
Wolff  of  Paris  in  1873. 

Transposition.  Se.&Transpose. . .  Trans- 
positions'skalcn  (Ger.),  transposing 
scales. 

Transverse  flute.     See  Flute. 

Trascinan'do    (It.)     Same   as   Strasci- 

nando. 

Trasporta'to (It.)  Transposed. . .  Chia'- 

vi  trasportati,  see  Chiavette. 

Trattenu'to  (It.)  Held  back,  retarding 
the  tempo.     (Abbr.  tratt.) 

Trau'ermarsch  (Ger.)    Funeral  march. 

Trau'rig  (Ger.)  Sad,  melancholy. 

Travailler  (Fr.)  "To  work".  An  in- 
strumental part  is  said  to  travailler 
when  it  leads  while  the  others  act  as  an 
accompaniment  or  fiWing.  .  .Musique 
fravailltfe,  music  abounding  in  passages 
and  bristling  with  difficulties. 

Travel.     To  carry  ;  said  of  sound. 

Travers'flote  (Ger.)  i.  Flauto  traver- 
se.— 2.  A  4'"  organ-stop  resembling  the 
orchestral  flute  in  timbre. 

Traversiere     (Fr.),     Traver'so    (It.) 

Transverse. —  Traversa  {iov  Jlauto  Ira- 

verso)  occurs  in  scores. 
Tre  (It.)  Three. .  .A  tre,  for  3  voices  or 

instr.s;  a  tre  voci,  for  3  parts ...  TVi? 

corde,  see  Una  cor  da. 
Treb'le.    See  Soprano. . .  Treble-clef,  G- 

olef. 
Trede'zime  (Ger.)     A  thirteenth. 
Trei'bend    (Ger.)     Urging,  hastening; 

accelerando,  stringendo. 

Treizi^rae  (Fr.)    A  thirteenth. 


-rKEMANDO— TRILL. 


207 


C^e 


rreman'do,  Tremolan'do   (It.)     With 
a  tremolo-effect. 

Tremblant  (Fr.)     Tremulant. 

Tremblement  (Fr.)     Trill;  tremolo... 
Trembler,  to  execute  a  trill  or  tremolo. 

e'molo  (It.,  "  a  quivering,  flutter- 
ing ;"  comp.  Vibrato.)  i.  In  singing, 
a  tremulous  fluctuation  of  tone,  effective 
in  highly  dramatic  situations,  though 
frequently  a  mere  mannerism  or  vocal 
defect. — 2,  On  stringed  instr.s,  an  effect 


produced   by   the   extremely  -^      : 

rapid    alternation    of    down-  „.^ 

bow   and    up-bo\v,    marked  5^ 
— 3.  On  the  pfte.,  the  rapid  alternation 

of  the  tones  of         ^jS  ^,_ 
a    chord,  e.  g. 
written  : 


or 


played:  Ef3:g58~^gI3 


(2  examples  from  Gade,  Op.  51): 


I.  Written 


played  : 


(This  last  is  simply  a  trill  without  after- 
beat.)  [N.  B.  The  pfte.-tremolo  is  not  al- 
ways written  as  an  exact  abbrevia-  ^^ 
tion  (comp.  Abbreviation  2);  e.  g.,  c*    ^ 

may  S^  gnn^r;"^  "^^ 
signify  J*J*J*,'^J»^'*,*J^ 
instead  1— i— 1^  |_S3,  in  case  the 
of  J*s'm^J*  tempo  is 
slow  enough  to  admit  of  the  former 
reading.] — 4.  A  fluttering  effect  pro- 
duced by  the  tremolo-stop  or  tremu- 
lant.— 5.  A  tremulant. 

Tremolo'so  (It.)  With  a  tremulous, 
fluttering  effect. 

Tremulant.  A  mechanical  device  in  the 
organ  for  producing  a  tremolo.  It  con- 
sists of  a  valve  or  arm  of  thin  metal 
which,  when  set  in  action  by  a  draw- 
stop,  partially  checks  the  inflow  of 
wind,  by  which  latter  it  is  forced  to  os- 
cillate rapidly,  the  consequent  alternate 
checking  and  admission  of  the  wind  to 
the  pipes  causing  a  tremulous  tone. — 
Organ-pipes  producing  a  similar  tone 
without  the  tremulant  are  those  of  the 
Piffaro,  Unda  maris,  etc. 

Tremulie'reti  (Ger.)  To  execute  a  trill 
or  tremolo;  also  sometimes  used  (as  a 
noun)  for  vibrato. 

Trenchmore.  An  old  English  country- 
dance,  in  lively  tempo  and  triple  or 
compound  duple  time. 

Trenise  (Fr.)  A  figure  in  the  quad- 
rille. 

Trepo'dion.     See  Terpodion. 


Tr^S  (Fr.)     Very  ;  molto. 

Triad.  (Ger.  Drei'klang ;  Fr.  and  It 
tria'de.)  A  "three-tone"  chord  com- 
posed of  a  given  tone  (root)  with  its 
third  and  fifth  in  ascending  diatonic 
order. .  .Harmonic  triad,  a  major  triad. 

Triangle.  (Ger.  Triang'el;  Fr.  triangle; 
It.  trian'golo.)  An  orchestral  instr. 
of  percussion,  consisting  of  a  steel  rod 
bent  into  triangular  shape,  one  corner 
being  left  slightly  open  ;  it  is  struck  with 
a  metal  wand.  The  rhythm  alone  be- 
ing noted,  the  triangle-part  is  usually 
written  on  a  single  line,  headed  by  the 
//w^'-signature  only. 

Tri'as  (Lat.)     A  triad. 

Tri'brach.  A  metrical  foot  of  3  short 
syllables,  having  the  ictus  on  either  the 
first  or  second,  thus:  (C  -^  ^  or  -^  -^  ~J). 

Tri'chord.  A  3-stringed  instr.—  Tri- 
chord pfte.,  one  having  3  strings  (uni- 
sons) to  each  tone  throughout  the  greater 
part  of  its  compass. 

Trich'ter  (Ger.)  Tube  (of  a  reed-pipe); 
bell  (of  a  horn  or  trumpet).  Often 
Sc  hall' trickier. 

Trici'nium  (Lat.)  An  a  cappella  compo- 
sition for  3  voices. 

Tridiapa'son.     A  triple  octave. 

Trill.  (Ger.  Tril'ler ,-  Fr.  trille ;  It 
tril'lo.)  (Also  Shake.)  [Sign  (t  ot 
tr  ■'^'^ ;  obs.  t.,  +,  ■*^»^,  or  (^.v  •  .-vvv, 


/wv  etc.]      A  grace  occupying  the  en- 
tire   time-value   of   the  principal  note. 


2o8 


TRILL. 


being  the  rapid  and  even  alternation  of 
the  latter  with  a  higher  auxiliary  (the 
maj.  or  min.  second  above) ;  except 
when  the  time  for  its  execution  is  so 
brief  as  to  reduce  it  to  a  mere  turn,  or 
an  inverted  mordent. — In  modern  mu- 


(a)  tr 


(b)  tr 


sic,  the  trill  generally  begins  on  the 
principal  note  {a),  and  ends  with  an 
after-beat  (/'),  which  should  be  written 
out  ;  if  to  be  begun  on  the  auxiliary,  an 
appoggiatura  should  be  set  before  the 
principal  note  {c). 

(cL  tr 


% 


-•-^ 


A    dotted    quarter-note    would     call 

for  one  more  group  of  4  i6th-notes  ;  a 

J,  for  2  such  additional  groups  ;   etc. 


These  are  the  typical  forms  of  the  long 
trill ;  they  differ  in  different  kinds  of 
time  ;  e.  g. 


or  when  preceded  by  an  ascending  appoggiatura  : 


m 


m 


w 


:^: 


-^-6»-: 


-^ 


ii; 


allegro 


adagio 


6_6_6^ 


^^ffrrr^Hfg%^>>p^g^^^r^7^r7^g^ 


the  tempo  also  exercises  a  controlling 

influence,  the    ^^  9    ^irjj~»       per- 
following trill:    ^  4   ^^'       formed: 


Andante. 


passmg      over 
into 


(Presto).  The  last  is  one  form  of  the 
sAari  trill,  which  might,  in  turn,  be- 
come a  long  trill  in  fresto,  when  the 


time-value  of   the  principal    note  per« 
mits  of  such  extension,  e.g. 


tr pa    5 


No.  6,  written  thus 

(All",  commodo) 

would    be    — 'JS-* 
executed  : 

The  after-beat  may  be  modified  chro- 
matically, as  at  No.  3,  or  thus  : 


TRILL. 


209 


It  is  often  in  place  when  not  written 
out  (comp.  Ex.  b  under  chain  of  trills); 
its  introduction  is  then  either  a  matter 
of  taste,  or  depends  on  what  follows, 

M  tr 


it  being  usually  required  where  the  trill 
is  followed  by  an  accented  note  ;  though 
the  next  three  examples  require  no 
after-beat  : 


tr 


rfffrfTT^ 


HI 


Successive  trills,  even  though  alike  in  1      reason   of  the   notes  immediately  pre- 
notation,    may   differ  in   execution   by  I      ceding  them : 


:?i 


tr 


A  trill  on  several  tones  in  direct  sue- 1      it  may  be  performed  with  or  without  an 
cession    is   called   a   chain   of   trills ;  I      after-beat : 

tr^^^^^ ___^^    (a) 


£ 


^»-^j 


f  r  r  r   r^^^^-T-A 

Hi— (^wha^        L—il— h— N» i 


(beginning  common  to  both) 


(b) 


»-f— »— F^^ 


,r-  0       P       •       ^ • ^— • ^ »- 


210 


TRILLERKETTE— TRIPLE-CROCHE. 


though  in  case   any   step  is  merely  a  chromatic  alteration  of  a  principal  note, 
the  after-beat  is  best  omitted  : 


=^i 


E£CS!:£te-^^^rl 


the  following  requires  short  trills  like 
inverted  mordents  : 


-The  only  rule  now  universally  appli- 


cable to  the  execution  of  the  trill  is  one 
equally  applicable'to  all  other  graces  ; 
namely,  that  it  must  exactly  fill  out  the 
time  allotted  to  it,  neither  accelerating 
nor  retarding  the  rhythm. — A  peculiar 
mode  of  commencing  the  trill,  called 
the  rihattiiia,  and  still  sometimes  em- 
ployed by  vocalists,  flutists,  and  violon- 
cellists on  account  of  the  smoothness 
attainable  thereby,  has  the  following 
forms  : 


— In  the  17th  and  iSth  centuxies,  and 
early  in  the  19th,  a  common  practice  was 
to  begin  the  trill  on  the  auxiliary,  and 
end  on  the  principal  note.  —  For  varieties 
of  the  trill  indicated  by  the  signs 
l/vw  .wsi  \r^>  /vw,  etc.,  compare  Graces, 
M 07' dent.  Signs ...  Double  zxiA  Triple 
Trills,  in  alternate  thirds,  sixths,  etc., 
for  both  hands,  frequently  occur  in 
modern  pfte. -music. 


Tril'lerkette  (Ger.)     Chain  of  trills. 

Tril'Io  (It.)  Trill.  (N.  B.  The  trillo  de- 
scribed in  Caccini's  Singing  Method 
(1601)  "  consists  of  the  rapid  repetition 
of  a  single  note... We.  also  mentions 
another  grace  which  he  calls  the  Gruppo, 
which  closely  resembles  the  modern 
shake  : 


Grove. 
iriller. 


Trillo  capri'710,  see  Bocks- 


Trine.  A  3-tone  group,  or  triad,  com- 
posed of  any  given  tone  (the  roof)  with 
its  major  thirds  above  and  below  (as 
A';)-C-E).    CompsiTe  Duodene. 

■  Trink'lied  (Ger.)     Drinking-song. 

(j>Tri'o  (It.)  I.  A  composition  for  3 
voices  or  parts,  (a)  The  Instrumental 
Trio,  usually  in  sonata-form,  is  most 
commonly  either  a  Pianoforte  Trio 
(pfte.,  violin,  'cello),  or  a  String  Trio 
(violin,  viola,  'cello  ;  or  2  violins  and 
'cello).  Compositions  for  3  concerted 
instruments,  accompanied  by  a  fourth 
playing  a  basso  continuo,  were  formerly 
also  styled  trios. .  .An  Organ  Trio  is  a 
3-part  organ-piece  for  2  manuals  and 
pedal,  the  registration  of  the  manuals 
being  strongly  contrasted. — (b)  The 
Vocal  Trio  is  usually  in  song-form  or 
aria-form. — 2.  In  minuets,  marches, 
scherzi,  etc.,  the  trio  or  alternativo  is  a 


division  set  between  the  first  theme  and 
its  repetition,  and  contrasting  with  it  by 
a  more  tranquil  movement  and  cantU' 
bile  style  ;  called  "trio"  because  writ- 
ten in  3  parts,  in  contrast  to  the  ordi- 
nary 2-part  style  of  the  principal  subject. 

Trio'le  (Ger.),  Triolet  (Fr.)     Triplet. 

Triomphale  (Fr.),  TrionfaTe  (It.) 
Triumphal. 

Triomphant  (Fr.),  Trionfan'te  (It.) 
Triumphant. 

Trip'elfuge(Ger.)  Triple  fugue. .  .  Trip'- 
elkonzert,  triple  concerto  (for  3  solo 
instr.s  with  orchestral  accomp.) . . .  Trip'- 
eltakt,  triple  Xirae.  . .  Tt'ip'elzunge,  tri- 
ple-tonguing. 

Tripho'nia.     See  Organum. 

Tri'pla   (It.)     i.     A  triplet.— 2.   Triple 

time. . .  Tripla  di  mi'niina,  3-2  time. 
Triple  counterpoint,  fugue,   time.     See 

the  nouns. 
Triple-croche  (Fr.)    A  32nd-note. 


TRIPLET— TROMMEL. 


Trip'let.  (Ger.  Trio'le;  Fr.  triolet;  It. 
tri'pla.)  A  group  of  3  equal  notes  to 
be  performed  in  the  time  of  2  of  like 
value    in  the  regular  rhythm  ;  written 


Trip'lum  (Lat.)     In  medieval  music,  a 
third  part  added  to  the  original  Altus 
and  Bassus  of  the  organum,  and  gener- 
ally the  highest  of  the  3  ;  hence,  Engl. 
treble. 
Tri'pola  (It.)     Same  as  tripla. 
Trisemito'nium  (Lat.)     Minor  third. 
Tristez'za    (It.)     Sadness,  melancholy  ; 

from  trl'sto,-a,  sad,  afflicted. 
Tri'te  (Gk.)     The  third  tone  from  above 
in  the  conjoined,  disjoined,  and  extreme 
tetrachords.     See  Greek  music. 
Tri'tone.     (Lat.    and    Ger.    Tri' tonus; 
Fr.  triton;    It.  tri'tono.)     The  interval 
of  3  whole  tones, 
or   an    augment- 
ed     fourth ;      as 
Tritt  (Ger.)     Treadle  or  pedal . . .  Trilt'- 

harfe,  pedal-harp. 
Tri'tus     (Lat.)      The     third     authentic 

church-mode  {Lydian). 
Tro'chee.     (Lat.  trochcs'us)    A   metri- 
cal foot  of  2  syllables,  long  and  short, 
with  the  ictus  on  the  first  (-^  --)• 
Trois    (Fr.)       IhrtQ... Mesure    a   trois- 
deux,  3-2  time  ;  a  trois-huit,  3-8  time  ; 
h  frois-quaire,  3-4  time. 
Troll.     A  round  or  catch. 
Trom'ba  (It.)    A  trumpet. . .  Tr.  croma'- 
tica,  chromatic  trumpet,  valve-trumpet. 
Tromba       mari' na        {Sea-trumpet, 
Marine    trumpet,    Nmi  s-fiddle;    Ger. 
Non'nengeii^e,      Trum'scheit),    a    very 
ancient  single-stringed  bow-instr.,  hav- 
ing for  a  body  a  long  thin  wooden  shell 
made  of   several    staves,    a   flat   belly, 
short  neck,  and  i  thick  gut  string  gen- 
erally  tuned   to    C  (sometimes   one   or 
more  additional  strings  as  drones).  One 
foot  of  the  bridge  rests  loosely  on  the 
belly,  the  harsh  vibration  thus  induced 
rendering  the  tones   very  powerful,  so 
that  the  instr,  was  formerly  used  in  the 
English  navy  for  signalling.     The  nat- 
ural harmonics  have  a  far  more  pleasing 
quaHty  of  tone,  which  accounts  for  the 
comparative    popularity    of   the   instr., 
in  Germany,  from  the  14th  to  the  i6th 
century,  in  German  churches  and  con- 
vents (whence  the  name  "  A^(?««<'«^^'^^" , 


nun's-fiddle).      It   occasionally  had  an 
additional  octave-string,  and  some  speci- 
mens were  provided  witli   sympathetic 
strings  within  the  body. . .  Tr.  sorda, 
muted  trumpet. . .  Tr.  spezza'ta,  earlier 
name  for  the  tromba  bassa  (bass  trum- 
pet). 
Trombet'ta(It.)    i.  {\\so  trombettalo  re, 
trombettte're,   trombetti'no.)      A    trum- 
peter.— 2.     A    small    trumpet    (dimin. 
trombetti'na). 
Trombone',     i.  (It.  and  Fr.   trombone; 
Ger.    Fosau'ne.)     An    orchestral  wind- 
instr.  of  metal,  belonging  to  the  trumpet 
family,  with  the    distinctive   feature  of 
the     slide-mechanism   (see     Slide),    in 
which  shape  it  dates  probably  from_  the 
15th    century.     It  is  constructed   in  4 
sizes  (alto,  tenor,  bass,  and   the  more 
recently   added  contrabass);  the    tenor 
trombone  is  the  one  in  most  general  use. 
Gevaert   suggests   that  the    tromba   da 
tirarsi  of  Bach's  scores  was  possibly  a 
soprano  tr.,  the  place  of  which  was  usu- 
ally supplied  by   the   cor)ietto.—\\._  is  a 
non-transposing   instr.,  and   is  written 
in  the  C-clef  (alto  or  tenor)  for  the  alto 
and  tenor  instr.s,  and  in  the  /'-clef  for 
the  bass  and  contrabass.  _  In  playing, 
there  are  7  positions,  obtained  on  suc- 
cessive  descending   semitonic   degrees 
by  gradually  drawing  out  the  slide,  the 
istpos.  being  when  the  slide  is  pushed 
completely   in,  i.    e.  when  the  tube  is 
shortest  ;    in    each  position   the   tones 
which  can  be  regularly  made  to  speak 
are  the  partials  2  to  8.     Utilizing  all  7 
positions,  the  tenor  trombone  in  Bp  has 
a    chromatic  y^    this     is 

compass     of  m-  |HK~=  ^^^  ^^^' 

2i      octaves,  ^^^^f^^^  ular  or- 
chestral 


iromE\.ob'\)  ^if^ 
compass,  above  which  are  the  4  ditticult 
tones /^',  c\  c"i.  and  d"-;  while  below 
separated  by  a  tritone  from  the  rest  of 
the  scale,  are  the  so-called  pedal-tones 
—  The  orchestral 
=^"  compass  of  the 
73  H;  .H;  rj:  alto  trombone  is 
"»"  *  ^•-  TP^  A—e'^\)\  that  of 
the  bass  trombone  5i— /'.— The  valve- 
trombone  possesses  greater  agility  than 
the  slide-trombone,  but  is  apt  to  be 
inferior  to  it  in  purity  of  tone.  (Comp. 
art.  Trumpet,  last  sentence.)— 2.  In 
the  organ,  a  powerful  reed-stop  (same 
as  Posaune). 
Trom'mel  (Ger.)  A  drum . . .  Trom'mel- 
bass,  the  rapid  reiteration  of  a  bass  tone 


TROMPE— TRUMPET. 


(a term  of  disparagement). . .  Trom'mel- 
kldppcl  or  -stocke,  drumsticks. . .  Gro'sse 
Tr.,  bass  drnm.  .  .  Militar'trom/nel, 
military  drum,  side-drum. .  .y^^^/Z'/ww- 
mel,  tenor  drum.. ..  IVit'beltrommel, 
side-drum. 

Trompe  (Fr.)  A  hunting-horn  ;  former- 
ly, a  trumpet.  . .  Tr.  de  Beam,  or  tr.  a 
laquais,  jew's-harp. 

Trompe'te  (Ger.)  Trumpet. . .  Trompe' - 
tetii^eige,  tromba  marina.  . .  Tro/upe'- 
tenregister ,-we7-k ,-zug ,  trumpet-stop. .  . 
Trompe' ter,  trumpeter. 

Trompette  (Fr.)  i.  Trumpet. . .  Tr.  a 
coulisse,  slide-trumpet. .  .  Tr.  harmo- 
nieuse,  trombone . . .  Tr.  d'harmonie,  or- 
chestral trumpet.  . .  Tr.  marine,  tromba 
marina. — 2.  Trumpeter  ;  bugler  (for 
cavalry). 

Trope.  (Lat.  iro'pus,  pi.  tro'pi;  Ger.  pi, 
Tro'pen.)  One  of  the  numerous  formu- 
las, in  the  Gregorian  chant,  for  the  close 
of  the  lesser  doxology  following  the  in- 
troit.  Originally,  there  was  but  one 
for  each  mode  ;  the  different  formulas 
are  now  termed  differentia;. 

Trop'po  (It.)     Too,  too  much  ;  allegro, 
'"'  ma   non    troppo,    rapid,    but  not  over- 
rapid. 

Troubadour  (Fr. ;  Span,  trovador';  It. 
irovato' re;  comp.  Troiivere.)  One  of 
a  class  of  poet-musicians  originating  in 
Provence,  and  flourishing  in  southern 
France,  northern  Spain,  and  Italy  from 
the  nth  century  till  toward  the  close  of 
the  13th.  The  chief  theme  of  their 
lyrical  effusions  was  love  (comp.  Meis- 
tersinger).  Their  art,  at  first  cultivated 
by  princes  and  knights,  gradually  de- 
cayed, passing  into  the  hands  of  their 
former  attendants,  the  Alhiestrels. 

Troupe  (Fr.)  A  band  or  company  of 
musicians. 


Trouvfere,  Trouveur  (Fr.)  One  of  a 
class  of  medieval  bards  in  northern 
France,  especially  I'icardy,  conttnipo- 
rary  with  the  troubadours  and  often 
confounded  with  them,  though  their 
poems  were  chiefly  of  an  epic  character 
and  in  strong  contrast  to  the  elegant 
lyric  verse  of  the. latter.  We  owe  to 
the  trou7'eres,  besides  their  graiid  epics 
and  X\\Q  fabliaux,  chansons  de geste,  etc., 
the  origination  of  the  prose  tales  of 
chivalry  (the  famous  Round  Table 
cycle). 

Triib(e)  (Ger.)  Gloomy,  dismal;  sad, 
melancholy. 

Trug'fortschreitung  (Ger.)  Progres- 
sion of  a  dissonant  chord  to  a  dissonance 
instead  of  its  resolution  to  a  conso- 
nance...  Z'rM§^j'<r/i/2<jj',  deceptivfj  ca- 
dence. 

Trump.  I  (obs.)  Trumpet. — 2.  Jew's- 
harp. 

Trumpet.  I.  (Ger.  Trompe'te;  Fr.  trom- 
pette; It.  trom'ba.)  An  orchestral  metal 
wind-instr.  having  a  tube  of  somewhat 
narrow  scale,  and  a  cupped  mouthpiece  ; 
the  convolutions  of  the  tube  are  straight- 
er  than  in  the  horn,  and  the  bell  is 
much  smaller  ;  length  of  tube,  for  the 
typical  pitch  in  D,  is  about  7  ft.  3^  in. 
By  the  aid  of  crooks  the  pitch  of  the 
prime  tone  in  the  natural  trumpet  may 
be  modified  to  any  degree  of  the  12- 
tone  chromatic  scale  (.4,  B^,  B,  C,  JJ^, 
D,  E\),  E,  F,  F-i,  G,  A\,  ;  and  also  to 
high  A  and  B^^.  The  natural  trumpet 
has  the  following  scale 


# 


which,  by  combining  the  tones  obtained 
by  using  the  various  crooks,  gives  the 
following  complete  compass  : 


little  used 


Good  in  all  nuances 


-««- 


-m-  bp- 


:::4=^:=:^=]= 


3^^9,3 


only  in  forte 


The  tone  is  brilliant,  penetrating,  and 
of  great  carrying  power ;  the  stopped 
tones,  however,  are  so  disagreeable  as 
to  be  practically  useless.  The  trumpet 
is  a  transposing  instr.,  and  its  music  is 
written  in  the  C-clef. — The  chromatic 
or  valve-trumpet    is   provided   with   3 


valves  (comp.  Valve).  [N.  B.  With 
regard  to  the  assumed  inferiority  in 
tone  of  the  valve-trumpet  and  valve- 
horn,  as  compared  with  the  natural 
instr. s,  no  less  an  authority  than  Ge- 
vaert  writes:  "The  chromatic  horns 
and  trumpets,  when  well  constructed, 


TRUMSCHEIT— TURN. 


213 


possess  all  the  qualities  of  timbre 
proper  to  the  natural  instr.s.  in  addition 
to  their  own  resources".] — 2.  In  the 
organ,  an  8-foot  reed-stop  of  powerful 
tone. 

Trum'scheit  (Ger.)     Tromba  marina. 

Tu'ba.  I.  The  straight  trumpet  of  the 
Romans. — 2.  A  name  applied  to  the  3 
lowest  members  of  the  sa.xhorn  family. 
— The  original  tubas  inv.  by  Wieprecht 
of  Berlin  in  1835,  are  of  broad  scale 
and  have  4  valves,  giving  a  complete 
chromatic  scale  of  about  4  octaves. 
The  bass  tuba  in  Bg,  and  contrabass 
iuba  \nBi\},a.re  the  ordinary  orchestral 
sizes  in  Germany  ;  these,  and  also  some 
others,  are  in  general  use  in  military 
bands. . .  Tuba  curva,  a  species  of  nat- 
ural trumpet  of  very  limited  compass, 
taught  in  the  Paris  conservatory  at  close 
of  1 8th  century. — 3.  In  the  organ,  a 
reed-stop  {tuba  mira'bilis)  on  a  heavy 
pressure  of  wind,  of  very  powerful  and 
thrilling  tone. 

Tu'bicen  (Lat.)  A  blower  of  the  trump- 
et or  tuba. 

Tucket.     A  flourish  of  trumpets. 

Tumultuo'so  (It.)  Vehement,  impetu- 
ous ;  agitated. 

Tun.  Drum  of  the  aborigines  of  Yuca- 
tan. 

Tune.  An  air,  melody  ;  a  term  chiefly 
applied  to  short  pieces  or  familiar  melo- 
dies of  simple  metrical  construction. 

Tuner,  i.  (Ger.  Stim'mer;  Fr.  accor- 
deur;  It.  accordaio're.)  One  who  tunes 
instr.s  as  a  profession. — 2.  Same  as 
Tuning-cone. — 3.  The  adjustable  flap 
or  incision  at  the  top  of  an  organ-pipe, 
by  setting  which  the  pitch  is  regulated. 

Tuning,  i.  The  act  or  process  of 
bringing  an  instr.  into  tune. — 2.  The 
accordance  or  accordatura  of  a  stringed 
instr. . .  Tuning-cone,  a  hollow  cone  of 


metal,  used  in  tuning  metal  flue-pipes 
in  the  organ.  Their  tops  are  "coned 
out  "  by  inserting  the  point  of  the  cone, 
this  increasing  the  flare  and  raising  the 
pitch;  and  "coned  in"  by  pushing 
the  inverted  cone  down  over  their  tops, 
decreasing  the  flare  and  lowering  the 
pitch. .  .  Tuning-crook,  a  crook .  . .  Tun- 
ing-fork, a  2-pronged  instr.  of  metal, 
yielding  one  fixed  tone  (usually  a'  ; 
Tonic  Sol-fa,  c'-),  and  employed  to  give 
the  pitch  for  tuning  an  instr.,  begin- 
ning a  vocal  performance,  etc. . .  Tun- 
ing-hammer, a  hand-wrench  used  in 
tuning  pftes.  . .  Tuning-horn,  a  tuning- 
cone.  . .  Tuning-key,  a  tuning-hammer. 
. .  Tuning-slide,  a  sliding  U-shaped 
section  of  the  tube  in  certain  brass 
instr.s,  used  to  adjust  their  pitch  to 
that  of  other  instr.s.  ..  Tuning- wire, 
comp.  Tij>e  2,  b. 

Tuo'no  (It.)    A  tone  ;  a  mode. 

Tur'ba  (Lat.,  "crowd,  throng").  In 
medieval  passions,  the  chorus  repre- 
senting the  Jewish  populace,  or  the 
heathen,  and  taking  part  in  the  action 
of  the  play. 

Tur'C0,-a  (It.)  Turkish. .  .^//a  turca, 
in  Turkish  style,  with  a  boisterous 
and  somewhat  monotonous  harmonic 
accomp. 

Turkish  music.     See  Janizary  music. 

Turn.  (Ger.  Dop'pelschlag;  Fr.  groupe; 
It.  grupptt'to.)  Sign  fivs;  obs.  cz^,  g  ,  g 
{back  turns).  A  melodic  grace  consist- 
ing, in  what  may  be  termed  the  typical 
form  (the  direct  turn),  of  4  notes,  a 
principal  note  (twice  struck)  with  its 
higher  and lozver  auxiliary  (the  maj.  or 
min.  second  above  and  below,  each 
struck  once).  The  sign  is  set  either 
after,  or  over,  the  note  modified  ;  a 
chromatic  sign  over  or  under  the  turn- 
sign  alters  the  higher  or  lower  auxiliary 
respectively. 

I.    Turn-sign  after  the  note. 


adagio 


w 


presto 


or     [easier] 


214 


TURN. 


Except    in    extremely   rapid    move- 1      before  the  turn,  for  one-half  or  ^  of  its 
ments,  the  principal  note  is  dwelt  on,  I      time-value  : 


rr 


^HS 


^=t 


-rL\& 


:^=^ 


adagio  vxolto 


prestiss. 


adagio 


and    the    turn    is    executed    in    equal  I      usually  loses  a  larger  proportion  of  its 
notes.      But    a   dotted   principal    note  I      value : 


and  in  a  slow  movement  the  second 
member  of  the  dotted  rhythm  (e.  g.  the  (/ 
in  the  last  example)  is  frequently  rob- 
bed of  half  its  value,  which  is  added  to 
the  repercussed  principal  note ;  this 
form  is  occasionally  called  a  partial 
turn.  Mozart  some-  ^ 
times  carelessly 
wrote  the  turn  thus  :  "- 


to  be  played  : 


^- 


II.  Turn-sign  over  the  note. — In 

slow  tempi,  or  where  the  principal  note 
requires  special  stress,  the  turn  may  be- 
gin on  the  principal  note,  as  in  : 


TUSCH— TYPOPHONE. 


215 


this  last  ornament  was  called  the  j/?;2/^<:'i/ 1      Commonly,  however,   this  turn  begins 
turn   (Ger.    prallemier    Doppelschlag).  I      immediately  on  the  higher  auxiliary  : 


III.  The  Back  Turn  (sign  the  in- 1      onthelower  auxiliary,  and  the  principal 
verted  or  vertical  turn-sign  02  2)  begins  I      note  is  generally  dwelt  on  after  the  turn  : 


IV.  The  sign  for  the  Double  Turn 
(jv)  '^^"s  fo''  3-  turn  in  2  parts  at  once. 

Tusch  (Ger.)  A  thrice-repeated  flourish 
of  trumpets  accomp.  by  the  roll  of  the 
drums,  or  a  flourish  by  the  wind-instr.s 
in  the  orchestra,  in  token  of  applause 

^_  or  welcome. 

T\lt'to,-a  (It.)  All,  whole;  con  tiitta 
la  for'za,  with  full  power  or  strength. 
, .  Tutti  (pi.),  in  scores,  indicates  the 
entrance  of  the  whole  body  of  instru- 
mentalists or  vocalists  after  a  solo 
(comp.  Solo).  . .  Tutto  arco,  whole  bow. 

Tuyau  (Fr.)  A  pipe  ;  a  tube  (as  of  the 
trumpet). . .  T.a  ancht\  reed-pipe.  . .  T. 
h  boiicht\  flue-pipe . . .  T.  d'orgtw,  organ- 
pipe. 

Twelfth.  I.  The  interval  of  an  octave 
plus  a  fifth  ;  a  compound  fifth. — 2.  A 
mutation-stop  in  the  organ,  pitched  a 
twelfth  higher  than  the  diapasons. 


See 


Twenty-second.    A  triple  octave. 
Twice-accented    (a",    b",    etc.) 

Pitch,  absolute. 
Two. —  Tuio-time,  2-tiine,  duple  time. . . 

Two-lined  octave,  also  a,  b,  etc.;  see 
Pitch,  absolute. 

Tympan.  i.  A  timbrel  or  drum. — 2. 
An  obsolete  Irish  instr.,  probably  a 
kind  of  crowd. 

Tym'pano  (It.)     See  Timpano. 

Tympanon  (Fr.,  from  Gk.)  i.  Dulci- 
mer.— 2.  Same  as  tympanum. 

Tym'panum  (Lat.)  An  ancient  drum, 
sometimes  having  one  head  like  a  tam- 
bourine, sometimes  two,  closed  and 
rounded  below  like  a  kettledrum,  and 
beaten  with  a  stick  or  the  hand. 

Ty'pophone.  A  keyboard  instr.,  the 
tones  of  which  are  produced  by  steel 
wands  and  a  hammer-action  similar  to 


3x6 


TYROLIENNE— UNGERADER   TAKT. 


that  of  the  pfte.  Compass  4  octaves 
(chromatic)  from  c^  to  <r'  inckisive. 
Tone  sweet  and  sustained,  resembling 
that  of  the  harmonic  flute. 
Tyrolienne  (Fr.)  A  Tyrolese  dance  or 
dance-song,  a  peculiar  feature  of  the 
latter  being  the  Jodlcr,  especially  as  a 
refrain. — Hence,  a  modern  round  dance 
in  3-4  time  and  easy  movement. 


u. 

D'ben  (Ger.)     To  practise. 

U'ber(Ger.)  Over,  above. ..  U'bcrhlasen, 
to  overblow  ;  overblowing.  . .  O'lu'r- 
gang,  a  transition,  modulation . . .  O'lh-r- 
gefiihrte  Stimmen,  divided  stops  (or- 
gan). .  .  U'bergreifen,  (a)  to  cross  the 
hands  in  pfte. -playing  ;  (3)  same  as  DJ- 
vianchJ;  iibergreifendes  System,  in 
Hauptmann's  theory  of  harmony,  a  key- 
system  (i.  e.  a  chain  of  3  fundamental 
triads)  formed  by  adding  to  the  given 
key-system  a  new  link  or  triad  on  the 
dominant  or  subdominant  side  ;  e.  g. 
adding  to  d/ F-a-C-e-G-b-DJf  the  triad 
D-f^-A,  and  thus  forming  the  new 
key-system  a/  C-e-  G-b-D-f^-A/c. .  U'ber- 
leitung,  transitional  passage . . .  tj'ber- 
massig,  augmented  (of  intervals) . .  . 
U'berschlagen  (a)  to  cross  hands  (on  a 
keyboard  instr.);  (b)  to  overblow  (of 
organ-pipes  and  wind-instr.s);  (c)  see 
Umschlagen .  .  .  O'bersetzen,  to  pass 
over  (as  a  finger  over  the  thumb  on  the 
keyboard,  or  one  foot  over  the  other  on 
the  ^^disXs). .  .O'bersteigc'n,  to  rise 
above  ;  said  of  a  vocal  part  which  tem- 
porarily ascends  above  one  naturally 
higher. 

U'bung  (Ger.)     E.xercise  ;  practice. 

Ugua'le  (It.)  Equal,  like,  even. . .  Ugua- 
lita\  equality,  conformity. . .  Ugual- 
mcn'te,  equally,  alike,  evenly. 

Uma'no,-a  (It.)  Human. . .  Voceumana, 
{a)  vo.x  humana  ;  (/')  cor  anglais. 

Um'fang  (Ger.)     Compass. 

Um'kehrung  (Ger.)     Inversion. 

Urao're  (It.)     Humor. 

Um'schlagen  (Ger.)  i.  Of  the  voice,  to 
break  ;  umschlaoi'nde  Stimme,  voice 
alternating  between  chest-tones  and 
falsetto. — 2.  Of  wind-instr.s,  to  over- 
blow ;  also  compare  Goose. 

Um'stimmung  (Ger.)  i.  A  change  of 
pitch  or  key  in  wind-instr.s  or  the  ket- 
tledrums, called  for  in  scores  by   the 


word     Muta. — 2.     A     scordatura     of 
stringed  instr.s. 

^Un,  une  (Fr.)  A,  or  an. . .  Un  feu  plus 
lent,  a  little  slower. 

■  Un,  u'no,  u'na  (It.)  A,  or  An...  Una 
corda,  with  the  soft  pedal  (pfte.)  ;  Tre 
corde  then  signifies  that  the  soft  pedal 
is  to  be  released. 

Unaccented  octave.     The  small  octave 

(see  Pitch,  %  i). 

Unacknowledged  note.  An  unessen- 
tial or  passing-note. 

Un'ca  (Lat.)  Hooked  ;  hence,  an  eighth- 
note  \Y);  bis  unca  (twice  hooked),  a 
si.xteenth-note(    fc). 

Uncoupled.  (Ger.  Koppel  ab.)  In  or- 
gan-music, a  direction  to  push  in  a 
coupler  previously  drawn.  (Usually 
"off"  ;  as  Gt.  to  Fed.  off.) 

Un'da  ma'ris  (Lat.,  "wave  of  the  sea".) 
In  the  organ,  an  8-foot  flue-stop  pitched 
a  trifle  lower  than  the  surrounding 
foundation-stops,  the  interference  of  its 
tone  with  theirs  producing  beats  and  a 
wavy,  undulatory  effect  of  tone. 

Unde'cima  (Lat.  and  It.)  The  interval 
of  an  eleventh. 

Undec'uplet.  A  group  of  11  equal 
notes  to  be  performed  in  the  time  of  8 
(or  6)  of  like  value  in  the  regular 
rhythm. 

Under-chord.  See  Phone,  §1 . . .  Under. 
song,  burden,  reir3.m.  ..  Undertones 
(from  Ger.  Un'tertbne),  the  lower  par- 
tials.     (See  Acoustics.) 

Unde'zime  (Ger.)     The  interval   of  an 

eleventh. 

Undezimo'le  (Ger.)     An  undecuplet. 

Undulazio'ne  (It.)     On  bow-instr.s,  the 

vibrato  effect. 

Un'eigentliche    Fu'ge     (Ger.)     Fuga 

irregularis. 

Un'endlich  (Ger.)     Infinite. 

Unequal  temperament.  See  Tempera- 
ment. . .  Unequal  voices,  voices  different 
in  compass  and  quality  ;  mixed  voices. 

Unessential  note.  One  forming  no 
essential  part  of  the  harmony  or  melody, 
as  passing-notes,  changing-notes,  many 
graces,  etc. 

Ung'arisch  (Ger.)     Hungarian. 

Un'gebunden  (Ger.)    See  Gebunden. 

Un'geduldig  (Ger.)     Impatient. 

Un'gerader  Takt  (Ger.)     Triple  time. 


UNGESTRICHENE  OKTAVE— VALVE. 


217 


Un'gestrichene  Okta've  (Ger.)  Un- 
accented octave  (the  "  non-lined,"  or 
small,  octave). 

Un'gestiim  (Ger.)     Impetuous(ly). 

Un'gleich  (Ger.)  Unequal.  .  .  Un'gleich- 
schwehende  Te/npenitur',  unequal  tem- 
perament. 

Un'harmonisch  (Ger.)     Inharmonic. 

Unichord.  (Lat.  unichor'dum^  l.  Mono- 
chord. — 2.  Tromba  marina. 

Unio'ne  (It.)     Coupler. 

Unison.  (Lat.  iiniso' mis ;  Ger.  Unison' ; 
Fr.  unissoti;  It.  uni'sono.)  Properly, 
a  tone  of  the  same  pitch  as  a  given 
tone  ;  by  extension,  a  higher  or  lower 
octave  of  a  given  tone;  as  all' unisono 
(It.),  a  Vuuisson  (Fr.),  in  unison,  at 
the  unison,  progressing  in  unison  (in 
this  latter  sense  often  found  in  scores, 
as  where  a  double-bass  part  is  written 
out  and  the  'cello  has  merely  the  direc- 
tion col  basso  all' unisono  \_c.  B.  all' iini- 
sono\,  i.  e.,  the  same  part  an  octave 
higher). — Also,  in  the  pianoforte,  a 
group  of  2  or  3  strings  struck  by  one 
hammer  and  yielding  one  tone ;  one 
such  string  is  called  a  unison-siring. — 
Finally,  sometimes  equiv.  to  Prime. 

Unitamen'te  (It.)  Unitedly,  together 
with.  . .  Uni'to,-a,  united,  joined. 

U'no  (It.)     See  Un. 

Un'rein  (Ger.)  Impure,  false,  out  of 
tune. 


Un'ruhig(Ger.)    Restless(ly),  unquiet(Iy). 

Un'schuldig  (Ger.)     Innocent(ly). 

Un'ter   (Ger.)     Under,    below,    sub- 

Un'terbass,  subbass.  .  .  Unterhroch'en, 
interrupted. .  .  Un'terdominante,  sub- 
dominant.  . .  Un'terleitton,  dominant 
seventh...  Un' termedianle,  submediant. 
. .  Un'tersatz,  subbass .  . .  Uti' tersetzen, 
to  pass  under  (see  Uhersetzcn) . . .  Un'- 
terstimme,  lowest  part;  bass  part... 
Un'tertaste,  a  key  (digital)  belonging 
to  the  lower  or  white  row  ;  a  white  key. 
. .  Uyi'tertone  (pi.),  Un' tertonreihe,  the 
series  of  lower  harmonics  of  a  given 
tone ;  the  undertones;  opp.  to  Ober- 
tone. 

Un'vollkommen  (Ger.)     Imperfect. 
Uo'mo  (It.)     Man.     (See  Frimo.) 
Up-beat.     (Ger.  Auftakt;  Fr.  lev^:  It. 
leva'ia.)     I.  The  raising  of  the  hand  in 
beating   time  ;  opp.    to   down-beat. — 2. 
An  unaccented  part  of  a  measure. 

Up-bow.  (Ger.  Hitiauf'strich;  Fr. 
pousse;  It.  07x0  in  su^  In  playing  bow- 
instr.s,  the  stroke  of  the  bow  in  the 
direction  from  point  to  nut ;  sign  V  or 
A,  which  is  called  the  tip-bow  mark. 

Upright  piano.     See  Pianoforte. 

Ut.  I.  The  first  of  the  Aretinian  syllables 
(see  Solmisatioti). — 2.  Name  in  France 
of  the  note  C  . .  In  the  French  system 
of  marking  the  absolute  pitch,  the  sev- 
eral octaves  are  marked  as  follows  : 


French  system 

begins  on 

English  system 


Octave J 

— ♦  »/_j 

Co 


octave_ 


octavej 
C 


octavej 


octaves 


octave4        octavej 


Thus    Middle- C  is   marked   f'   in   the 
English  system,  and  utz  in  the  French. 
Ut  (Lat.)     As,  just  as,  like  ;  zit  supra, 
as  above. 

V. 

V.  An  abbrev.  for  Vide  (v.  s.  =  vide 
sequens),  Violino,  Volti  (V.  S.  =  volti 
subito).  Voce  (m.  v.  =  raezza  voce.) — 
V<=,  orV"."»,  Violoncello ;\^^,  Viola;  'P' 
or'Y,  Versicle ;  Vv.,  violini. 

Va  (It.)  Go  on,  continue ...  Fa  cre- 
scendo, go  on  increasing  (the  power). 

Vacillan'do  (It.)  Vacillating  ;  noting  a 
passage  to  be  performed  in  a  wavering, 
hesitating  style. 

Va'gans  (Lat.)    See  Quintus. 

Va'gO  (It.)     Vague,  dreamy. 


Va'lor  (Lat.).   Valo're 
i.  e.   time-value.      (Ger. 


Valeur  (Fr.), 
(It.)  Value 
Werih.) 

Valse  (Fr.)  Waltz;  valse chant^e,'wa.\tz- 
song  ;  valse  de  salon,  a  salon-piece  in 
waltz-time  for  pfte. 

Value.  (See  Valeur^  The  value  (or, 
better,  the  /?wt'-value)  of  a  note  or  rest, 
is  its  length  or  duration  as  compared 
{a)  with  other  notes  in  the  same  move- 
ment, or  ip)  with  the  standard  whole 
note  0  or  any  fractional  note. 

Valve.  I.  (Ger.  Ventif ;  Yr.  piston;  It. 
val'vola,  pisto'7ie.)  In  certain  brass 
wind-instr.s,  a  device  for  diverting  the 
air-current  from  the  main  tube  to  an 
additional  side-tube,  thus  lengthening 
the  air-column  and  lowering  the  pitch 
of  the  instrument's  entire  scale.  By 
the  aid  of  valves,    natural   instr.s  are 


2l8 


VARIAMENTE— VENTIL. 


altered  to  chromatic  instr.s  commanding 
a  chromatic  scale  throughout  their  com- 
pass. (Compare  Horn,  Trtimpet ;  also 
Key  3.) — The  valves  are  operated  by 
the  fingers  of  the  right  hand  ;  their 
usual  number  is  3,  No.  i  lowering  the 
pitch  by  (approximately)  I  tone,  No.  2 
by  a  semitone,  and  No.  3  by  xYi  tones. 
Two  systems  are  in  ordinary  use  ;  the 
Piston-valve,  and  the  Rotary  Valve. — 
{a)  The  Piston-valve  is  a  cylindrical 
plunger  working  in  an  air-tight  cylinder, 
terminating  in  a  short  rod  surmounted 
by  a  button,  and  pierced  crosswise  by 
2  round  holes  ;  the  enclosing  cylinder 
is  similarly  pierced,  on  either  side,  one 
perforation  communicating  with  the 
main  tube,  the  other  with  the  side-tube. 
When  the  piston  is  not  depressed,  one 
of  its  holes  is  opposite  to  those  in  the 
cylinder  which  communicate  with  the 
main  tube,  so  that  the  open  (natural) 
tone  of  the  tube  can  be  sounded  ;  on 
depressing  the  piston  with  the  finger, 
communication  with  the  main  tube  is 
cut  off,  but  opened  with  the  side-tube, 
so  that  the  lower  tone  sounds.  On  re- 
leasing the  piston,  a  spiral  spring 
causes  its  return  to  the  original  position. 
— The  Rotary  Valve  is  "a  four-way 
stop-cock  turning  in  a  cylindrical  case 
in  the  plane  of  the  instrument,  2  of  its 
4  ways  forming  part  of  the  main  chan- 
nel, the  other  2,  on  its  rotating  through 
a  quadrant  of  the  circle,  admitting  the 
air  to  the  ^ide-tube  ".  Its  manipulation 
is  lighter  than  that  of  the  piston,  but  it 
is  more  liable  to  derangement. — 2.  In 
the  organ,  the  principal  valves  are  the 
suction-valves  or  suckers  admitting 
wind  to  the  bellows  and  preventing  its 
escape  ;  the  -waste-pallet^  relieving  the 
bellows  of  an  over-supply  of  wind  ;  and 
the  key-valves  or  pallets. 

Variamen'te  (It.)  Variously,  different- 
ly- 

Varian'te  (It.  and  Fr.)  A  variant  ;  an- 
other (optional)  reading.     See  Ossia. 

Variation.  (Ger.  and  Fr.  Variation'; 
It.  variazio'ne.)  One  of  a  set  or  series 
of  transformations  of  a  theme  by  means 
of  harmonic,  rhythmic,  and  melodic 
changes  and  embellishments.  In  the 
Doubles,  or  earlier  form,  the  variations 
left  the  melody,  key,  and  rhythm  of  the 
theme  intact,  merely  embellishing  it 
with  new  and  growingly  elaborate  fig- 
uration ;  whereas  the  modern  tema  con 
variazioni  (beginning  with  Haydn  and 


Mozart,  and  fully  developed  by  Beet 
hoven)  may  employ  the  strongest  con- 
trasts of  rli^-thm,  harmony,  and  tonality, 
the  sole  limitation  being  that  a  memory 
— so  to  speak — of  the  theme  shall  in 
one  way  or  another  be  kept  alive 
throughout. 
Varia'to  (It.),  Vari^  (Fr.)  Varied. . . 
Air  varid,  thhne  varid,  same  as  tema 
con  variazoni. 

Varsovienne  (Fr.;  It.  Varsovia'na)  A 
dance  in  moderate  tempo  and  3-4  time, 
with  rt«/j!'(2/'/'of  a  quarter-note,  the  down- 
beat of  every  second  measure  being 
strongly  marked  ;  presumably  invented 
in  France  about  1S53,  as  a  variant  of 
the  Polish  polka,  mazurka,  andredowa. 

Vaudeville  (Fr.)  Originally,  a  popular 
convivial  or  satirical  street-song,  or  song 
sung  about  town  ;  by  the  introduction 
of  such  verses  into  light  plays  and 
operas  the  way  was  paved  for  the  mod- 
ern vaudeville,  a  light  comedy,  often  a 
parody,  in  which  dialogue  and  panto- 
mime alternate  with  witty  and  satirical 
couplets  generally  set  to  well-known 
popular  airs, 

Veemen'te  (It.)  Vehement,  passionate. 
.  .  Veemen'za,  con,  with  vehemence, 
passion. 

Veil.  In  singing,  an  obscuration  of  tone, 
either  natural  or  superinduced  by  out- 
ward causes,  detracting  from  clear  and 
bell-like  vocalization.  A  veiled  voice  is 
called  in  It.  vo'ce  vela'ta,  in  Fr.  voix 
sombrJe  or  voilee. 

Vela'to  (It.)     Veiled  (see  Veil). 

Velluta'to  (It.)    Velvety. 

Velo'ce  (It.)  Rapid,  swift  ;  usually  ap- 
plied to  a  passage  to  be  performed  more 
swiftly  than  those  before  and  after,  thus 
being  the  opposite  of  r/7^««fo. . .  Veloce- 
7nen'te,  rapidly.  . .  Velocissimamen' te, 
velocis'simo,  with  extreme  swiftness, 
presto. . .  Velocity',  velocity. 

Ventage.  (Ger.  Ton'loch.)  In  wind- 
instr.s  having  finger-holes  or  keys,  any 
hole  to  be  stopped  by  a  finger  or  key. 

Ven'til.  I.  Valve. — 2.  In  the  organ, 
a  cut-off  or  shutter  within  the  wind- 
trunk,  for  shutting  the  wind  off  from,  or 
admitting  it  to,  certain  stops  or  partial 
organs  ;  often  controlled  by  a  draw- 
stop  or  Y>cd-A. . .  Ventil'korn  (Ger.), 
valve-horn  ;  VentiV kornctl,  cornet  k 
pistons. 


VENUSTO— VIBRATOR. 


219 


Venu'sto  (It.)     Graceful,  elegant. 

Vepres  (Fr.)     Vespers. 

Veran'derungen  (Ger.)     Variations. 

Verbin'dung  (Ger.)  Binding,  tying, 
connection  ;  combination .  . .  Verbin'- 
dungszeichen,  tie. 

Verdeckt'    (Ger.)     Covered,    concealed. 

Verdop'pelt  (Ger.)  Doubled. . .  Vcrdop'- 
peliing,  doubling. 

Vereng'ung  (Ger.)  i.  See  Verkiir'- 
zung. — 2.  Harmonic  compression  of  a 
theme  by  substituting  in  the  imitation  a 
narrower  interval  for  a  wider  one. 

Vergniigt'  (Ger.)     Cheerful,  cheery. 

Vergro'sserung  (Ger.)  Augmentation 
(of  a  theme). 

Verhal'len  (Ger.)  To  die  away. . .  Ver- 
hal'lend,  dying  away. 

Verkeh'rung  (Ger)  Inversion  (of  the 
intervals  of  a  theme);  i.  e.  imitation  by 
inversion,  or  by  contrary  motion. 

Verklei'nerung  (Ger.)     Diminution. 

Verkiir'zung  (Ger.)     Diminution  i. 

Verlang'erungszeichen  (Ger.)  Dot  of 
prolongation. 

Verlo'schend  (Ger.)     Dying  away. 

Vermin'dert  (Ger.)  Diminished  (of  in- 
tervals). 

Vermit'telungssatz  (Ger.)     Episode. 

Verrillon  (Fr.)     An  Harmonica  2. 

Verschie'bung  (Ger.)  Shifting  pedal, 
soft  pedal;  mit  Versch.,  unacorda;  ohne 
Versch.,  tre  corde. 

Verschwin'dend  (Ger.)  Vanishing  ;  dy- 
ing away. 

Verse.  A  portion  of  a  service  or  anthem 
sung  by  solo  voices  ;  opp.  to  chorus. 
.  .  Verse-anthem,  see  Anthem.  .  .  Verse- 
service,  a  choral  service  for  solo  voices. 

Verset  .  (It.  verset'to;  Fr.  verset)  I. 
Same  as  Versicle. — 2.  A  short  prelude 
or  interlude  for  the  organ. 

Verset'zen  (Ger.)    To  transpose. . .  Vcr- 
set'zttng,    transposition  ;    Verset'zungs- 
zeichen,  a  chromatic  sign. 
Versicle.   In  liturgies,  a  short  verse  gen- 
erally  forming,    together   with   its   re- 
sponse, but  one  sentence  ;  e.  g. 
Vers.  O  Lord,  save  Thy  people, 
Resp.  And  bless  Thine  inheritance. 

Ver'so  (It.)     I.     A  verse  or  stanza. — 2. 

An  air  or  tune. 
Verstimmt'  (Ger.)     Out  of  tune  ;  out  of 

humor,  depressed. 


Ver'te  (Lat.)     Turn  over.     (See   VolH.) 

Vertical.  Lying  in  one  plane  (said  of 
pfte.-strings)  ;  opp.  to  overstrung. 

Verve  (Fr.)  Spirit,  animation,  vigor, 
energy. 

Verwandt'  (Ger.)  Related  ;  verwan'dU 
Tonarten,  related  keys.  . .  Verwandi'- 
schaft,  relation(ship). 

Verwech'selung,  die  enharmo'nische 
(Ger.)     The  enharmonic  change. 

Verwei'lend  (Ger.)  Delaying  ;  ritenuto. 

Verziert'  (Ger.)  Ornamented ...  Fifr- 
zid'rung,  ornament,  grace. 

Verzo'gerung  (Ger.)     Retardation. 

Verzwei'flungsvoll  (Ger.)  Despair- 
ing(ly);  with  desperation. 

Vespers.  (It.  ve'spcro;  Fr.  vepres;  Ger. 
Vesper.)  "Even-song."  The  6th  of 
the  canonical  hours. 

Vezzo'so  (It.)  Graceful;  elegant... 
Vezzosamen'te,  gracefully,  etc. 

Vibran'te  (It.)  With  a  vibrating,  agi- 
tated effect  of  tone. 

Vibration.  (It.  vihrazio' ne ;  Fr.  vibra- 
tion ;  Ger.  Schwing'ung.)  The  rapid 
oscillation  of  any  tone-producing  body, 
as  a  string,  an  air-column,  the  vocal 
cords,  eic... Amplitude  0/  vibration,  the 
widest  departure  of  a  tone-producing 
body,  towards  either  side,  from  a  point 
of  rest . .  .A  mplitude  of  a  single  vibra- 
tion, properly,  the  departure  of  the  tone- 
producing  body  from  the  middle  point 
towards  one  side  only ;  but  frequently 
made  to  comprehend  the  entire  width 
of  the  excursion  from  side  to  side... 
Double  vibration,  the  excursion  of  a 
tone-producing  body  (as  a  string)  from 
one  side  to  the  other  and  back  again.. . 
Vibration-number,  a  figure  represent- 
ing the  number  of  vibrations  (usually 
estimated  by  double  vibrations)  made 
by  a  tone. 

Vibra'to  (It.)  i.  On  bow-instr.s,  the 
wavering  effect  of  tone  obtained  by  the 
rapid  oscillation  of  a  finger  on  the 
string  which  it  is  stopping.— 2.  In  sing- 
ing, a  tremulous  effect,  differing  from 
the  tremolo  in  not  fluctuating  from  the 
pitch,  partaking  of  the  nature  of  a 
thrill,  or  series  of  very  rapid  partial  in- 
terruptions of  the  tone.  [Not  to  be 
confounded  with  Tremolo  in  either 
sense.]  The  ill-managed  vibrato  de- 
generates to  a  trillo  caprino  {q.  v.) 

I  Vibrator.    A  free  reed. 


220 


VICENDA— VIOLA. 


Vicen'da  (It.)  Change. ..  l'ii('fi,//v(>/c-, 
changeably,  vacillatingly. 

Vi'de  (Lat.),  Vi'di  (It.)  See...Vi-de,  in 
scores,  a  sign  that  a  "cut"  has  been 
made,  directing  the  performers  to  skip 
from  Vi-  over  to  de. 

Vide  (Fr.,  "empty".)  Open  (said  of 
strings) . . .  Corde  a  vide,  open  string  ; 
opp.  to  corde  h  jotter,  a  string  to  be 
stopped. 

Viel  (Ger.)  Much,  grcaX.  .  .Mil  vie'lem 
Nach'druck,  with  strong  emphasis... 
Viel'chorig,  for  several  choirs  or  (di- 
vided) choruses.  .  .  Viel' fac her  Kon'- 
iraptinkt,  polymorphous  counterpoint. 
. .  Viel' stimmig,  polyphonic. 

ViMe  (Fr.)  A  modernized  spelling  of 
vielle. 

Vielle  (Fr.)  Hurdy-gurdy.  (Also  viel' la.) 

Vier  (Ger.)  Four...  Vierach'teltakt,  4-S 
time...  Viei'doppelter  Kon'trapunkt, 
quadruple  counterpoint. . .  Vier'fach, 
st&fach.  ..  Vier'fiissig,  4-foot.. .  Vier'- 
ges  trie  hen,  see  Ge  stricken  2. . .  Vier'- 
hdndig,  for  4  hands  . . .  Vier'klang, 
chord  of  the  "Jth.  .  .  Vier'tel  (-note), 
quarter-note  . . .  Vier' telpa use,  quarter- 
rest.  . .  Viervier'teltakt,  4-4  time. .  . 
Vierzwei'teltakt,  4-2  time. 

Vif,  7«.,  Vive, /i7«.  (Fr.)     Brisk,    lively. 

Vigorosamen'te  (It.)  With  vigor,  ener- 
gy.. .  Vigoro'so,  vigorous,  energetic. 

Vihue'la.  Primitive  form  of  the  Spanish 
guitar. 

Villanci'co  (.Span.)  A  sacred  vocal  com- 
position resembling  the  English  anthem, 
sung  in  Spain  at  the  principal  festivals 
of  the  Church. 

Villanel'la  (It.)  An  Italian  folk-song 
of  the  16th  century,  differing  from  the 


Viola  alta. 


Viola  tenore. 


artistic  madrigal  by  simple  harmoniza- 
tion  and    the  more   rustic,   humorous, 
*  and   sometimes  loose  character  of  the 
poem. 

Villarec'cio  (It.)    Rustic,  rural. 

Vi'na.  An  ancient  stringed  instr.  of  the 
Hindus.  The  body  is  a  section  of 
bamboo,  over  which  are  stretched 
lengthwise  4  strings,  tuned  in  the 
order  dominant,  leading-tone,  tonic, 
snbdominant;  the  18  movable  frets  can 
be  adjusted  to  coincide  with  any  one 
of  the  Hindu  scales.  There  are  also  3 
sympathetic  strings.  Two  gourds,  fixed 
at  either  end  of  the  bamboo,  act  as 
resonance-boxes. 

Vina'ta  (It.;  d\m\n.  vinet'ta.)  A  vintage 
song,  or  drinking-song. 

Vi'ol.  (It.  vio'la  ;  Ger.  and  Fr.  Vio'le.) 
Name  of  a  very  ancient  type  of  bow- 
instr.,  now  obsolete  ;  the  prototype  of 
the  violin  tribe  (but  comp.  Lira),  from 
which  it  differed  by  having  a  fretted 
fingerboard ,  a  variable  number  of  strings 
(from  5  to  8  or  more,  though  the  usual 
number  for  all  sizes  was  six),  and  in 
the  shape  of  the  body.  Both  belly 
(usually)  and  back  (always)  were  flat, 
the  ribs  high,  the  bouts  nearly  semi- 
circular, the  sound-holes  like  half-cir- 
cles, and  the  upper  half  of  the  body 
narrow  and  pointed.  The  bridge  being 
but  slightly  arched,  and  having  to  sup- 
port so  many  strings,  those  in  the  mid- 
dle could  scarcely  be  touched  separately 
with  the  bow  ;  this  circumstance,  how- 
ever, together  with  the  number  and 
peculiar  tuning  of  the  strings,  greatly 
facilitated  chord-playing,  in  which  the 
violin  is  comparatively  at  a  disadvan- 
tage.     The   tuning   was    as    follows : 


Viola  bassa. 


(Bass  viol.) 


SWa  hasga. 
(Contrabass  viol.) 


i.e.  in  fourths  vi\\.h.  one  //?«>-</ midway.— - 
The  viols  formerly  held,  in  conjunction 
with  the  lutes,  the  position  in  the  or- 
chestra now  occupied  by  the  violin,  etc., 
and  were  not  fairly  ousted  by  the  latter 
till  the  beginning  of  the  18th  century. 
The  Bass  Viol  {i.e.  in  viol-shape,  but 
with  fewer  strings)  is,  indeed,  still 
found  in  England,  though  superseded 
elsewhere  by  the  double-bass  of  violin- 
type.     The  violin  first  supplanted  the 


treble  viol;  gradually  the  larger  violin- 
types  were  invented,  with  the  above- 
mentioned  result.  During  the  transi- 
tion, the  frets  were  gradually  discarded. 
Vio'la  (It.)  I.  The  tenor  violin. — 2.  A 
viol...  V.  alia,  {a)  treble  viol;  hence 
{b)  tenor  violin  (obsolete  name) .  .  .V. 
hastat'da,  an  enlarged  viola  da  gam'ba, 
originally  with  6  or  7  stopped  strings, 
to  which  were  added  later  an  equal 
number  of  sympathetic  strings  stretched 


"»/<:? 


VIOLE— VIOLONCELLO. 


beneath  bridge  and  fingerboard. ..  F. 
da  brac'cio,  "  arm-viol"  (iience  Ger. 
Bra'tscke),  a  viol  held  on  the  arm 
while  playing  ;  opp.  to  v.  da  gamba.  .  . 
V.  d.i  gamba,  "  leg-viol,"  a  large  viol 
held,  like  the  'cello,  between  the  knees  ; 
the  bass  instr.  of  the  viol  family. . .  /'. 
d'amo're{¥r.  viole  d amour),  a  tenor  viol 
similar  to  the  v.  bastarda  in  stringing 
and  construction,  but  of  course  sma'Uer. 
..V.  da  spalla,  "  shoulder- viol,"  a 
somewhat  enlarged  v.  da  braccio.  .  .V. 
di  bardo'ne,  see  Barytone  2 . .  .  V^.  pom- 
posa  {violoncel'lo  pic' cold),  a  large  kind 
of  violin  inv.  by  J.  S.  Bach,  midway  in 
size  between  a  tenor  violin  and  'cello, 
with  5  strings  tuned  C-G-d-a-e^ . . .  Con- 
trabbas'so  di  -via' la,  see  Viol. 

Vio'le  (Ger.)  Viol. 

Viole   (Fr.)      Formerly,  a  viol ;  now,  a 


viola. 

more. 


Viole  d' amour,  see  Viola  d a- 


Violentamen'te  (It.)  Violently,  impet- 
uously. . .  Violen'to,  violent. 

Violet.  The  viola  d\imore.  (Sometimes 
English  Violet. ) 

Violette  (Fr.)     Small  viola. 

Violet'ta  (It.)  Small  v\o\. .  .Violetta 
marina,  a  bow-instr.  inv.  by  Pietro 
Castrucci,  soli  for  which  were  written 
by  Handel  in  Orlando  and  Sosarme. 

Violin'.  (Ger.  Violi'ne;  Fr.  violon;  It. 
violi'no.)  A  4-stringed  bow-instr.  of 
comparatively  modern  type  (an  im- 
proved viol*),  and  the  leading  orchestral 
instr.;  constructed  in  4  principal  sizes 
(the  so-called  string-quartet  of  the  or- 
chestra), with  the  following  accordature: 


Violin. 


Viola. 


Violoncello 


Double-bass. 


(written : ) 


A  description  of  the  treble  violin,  the 
typical  instr.  of  the  family,  will  suffice 
for  all  its  members. — The  resonance- 
box,  or  body,  is  formed  by  a  vaulted 
belly  (bearing  the  bridge)  and  back, 
joined  by  narrow  sides  called  ribs;  the 
waist  is  the  narrow  middle  portion  be- 
tween the  incurving  bouts,  at  the  corners 
of  which,  and  also  at  other  points  with- 
in the  body,  are  glued  triangular  pieces 
of  wood  called  blocks,  to  strengthen  the 
frame.  Also  inside,  just  beneath  the 
treble  foot  of  the  bridge,  is  set  a  round 
wooden  prop,  the  soundpost,  placed 
there  to  resist  the  tension  of  the  strings 
and  to  communicate  their  vibration  di- 
rectly to  the  back  ;  the  bass-bar  further 
strengthens  the  belly.  The  curved 
apertures  cut  in  either  side  of  the  belly 
are  the  /-holes,  or  sound-holes.  At  the 
bass  of  the  body  is  the  button,  to  which 
the  wooden  tailpiece  is  attached  by  a 
loop  of  gut  ;  from  the  tailpiece  the 
strings  are  stretched  across  the  bridge' 
and  over  the  fingerboard  (which  lies 
partly  upon  the  neck  and  partly  over 
the  belly)  to  the  nut,  and  thence  each 
to  a  separate  p:g  in  the  peg-box  or  head, 
which  ends  in  the  scroll. — The  word 
violin  is  from  the  It.  violino,  a  diminu- 
tive of  viola,  meaning  literally  "  small 
viol ".  Violin-music  is  written  in  the 
6^-cIef  {violin-clef).  The  strings  are 
numbered  1234  from  highest  to  low- 


est, because  the  highest  string  is  that 
next  the  bow-hand.  (Compare  also 
Bow,  Bowing,  Position,  Shift.)... 
Violi)i-clef,  the  C-clef .  .  .  Violin-diapa- 
son, a  diapason-stop  of  narrow  scale 
and  stringy  tone. 
Violi'na.  A  metal  flue-stop  in  the  organ, 
generally  of  4-foot  pitch,  of  small  scale 
and  stringy  timbre. 

Violinette.       i.     A    kit. — 2.     Same   as 

violino  piccolo. 

Violi'no  (It.)  Violin.../^'',  di  fer'ro, 
nail-fiddle.  . .  K/zV^ri?/!;?,  a  violin  smaller 
and  tuned  a  fourth  higher  than  the 
ordinary  violin . . .  V.  pompo'so,  a  violin 


with  an 
additional 
string    (c^ 


.  .  V.  prima  {se- 
condo),  first  (sec- 
ond) violin. 

(/-clef. 
violier.)     Viola- 


Violin'schliissel  (Ger.) 

Violiste  (Fr.;  formerly 
player. 

Violon  (Fr.)     I.  Violin. — 2.   The  violin- 
diapason  (organ-stop). 

Violonar    (Fr.)     Recent   name   for  the 
double-bass. 

Violonaro  (Fr.)     Same  as  Octo-basse. 

Violoncel'lo  (It.;    Ger.    Violoncell' ;   Fr. 
violoncelle.)    A  4-stringed  bow-instr.  of 

*A.  Hadjecki,  in  his  essay  on  "The  Italian 
Lira  da  braccio,"  contends  very  plausibly  that 
the  violin  was  derived,  not  from  the  viol,  but 
from  the  lira  da  braccio. 


222 


VIOLONE— VOCALIZZARE. 


violin-type  (see  Violin),  dating  in  its 
present  form  from  the  latter  half  of  the 
i6th  century.  The  word  is  a  diminu- 
tive of  violone,  the  It.  augmentative  of 
vioia,  thus  meaning  literally  a  "little 
big  viol  ".  The  'cello,  as  it  is  familiarly 
called,  required  more  than  a  century  to 
become  popular,  taking  at  first  very 
subordinate  parts,  whence  its  desig- 
nation, in  many  scores  of  the  17th 
century,  as  Basso  or  Bass.  It  slowly 
conquered  the  esteem  of  artists,  and 
supplanted  the  viola  da  ga////>a,  like 
which  it  is  held,  for  playing,  between 
the  knees,  while  firmly  supported  on 
the  floor  by  its  pointed  pc'g  or  standard. 
Violoncello-music  is  written  in  3  clefs 

^v     -H-^f -d- — •  for  convenience  of  no- 

^rrinfrEffi^i  tation,  and  now  invari- 
^  ably  according  to  the 
actual  pitch  ;  but  the  classic  masters, 
who  also  frequently  used  the  6'-clef 
in  chamber -compositions,  wrote  the 
notes  in  this  clef  an  octave  higher  than 
they  actually  sounded. . .  Violoncello  pic' - 
colo,  see  Viola  pomposa. 

Violo'ne  (It.,  "great  viol".)  i.  See 
Viol. — 2.  In  the  organ,  a  stop  on  the 
pedal,  of  16-foot  pitch  and  violoncello- 
like timbre. 

Violoniste  (Fr.)     Violinist. 

Vir'ga.     Same  as  Virgula. 

Virgil  Practice-Clavier.  A  toneless 
keyboard  instr.  for  mechanical  pfte.- 
practice,  inv.  by  A.  K.  Virgil,  of  New 
York,  in  1SS3  (see  Tcchniplioiie).  It 
differs  essentially  from  the  old  dumb 
piano  in  2  features:  (i)  The  depres- 
sion, and  also  the  release,  of  a  digital 
produces  a  mild  click  like  that  of  a  tele- 
graph-key ;  this  furnishes  a  means  for 
accurately  timing  the  practice,  for 
acquiring  promptness  of  down-stroke 
and  up-stroke,  and  for  determining  the 
different  styles  of  touch  (e.  g.  for  the 
strict  legato  the  click  on  depressing 
one  digital  exactly  coincides  with  the 
release-click  of  the  one  preceding)  ;  (2) 
it  affords,  by  a  simple  mechanical  ad- 
justment, 6  gradations  in  the  weight  of 
the  touch,  from  2  to  20  ounces — i.  e. 
from  the  very  lightest  pfte. -touch  up  to 
5  times  that  of  the  average  pfte. -action, 
or  more  than  the  heaviest  organ-touch. 

Vir'ginal.  A  small  kind  of  harpsichord  : 
often  written  in  the  plural  form  as  "a 
pair  of  virginals",  signifying  merely  a 
single  instr.     (Comp.  Pianoforte.) 


Vir'gula.     One  of  the  Neumes. 

Virtues'  (Ger. ;  fern.  Virtuo'sin.)  i.  A 
virtuoso.  (Fr.  virtuose.) — 2.  Virtuose  ; 
i.  e.,  possessing  or  exhibiting  the  quali- 
ties of  a  finished  artist ;  also  virtuo'- 
senhaft.  .  .  Virtuositiit' ,  virtuosity. 

Virtuo'so,-a  (It.;  pi.  virtnosi,-e.)  A 
finished  instrumentalist  or  vocalist. 

Vis-a-vis  (Fr.)     A  harpsichord  or  pfte 
having    2    opposed    keyboards,    for    2 
players. 
Vi'sta  (It.)     Sight  ;  a  (prima)  vista,  at 

(first)  sight. 
Vi'stamente  (It.)     Briskly,  animatedly. 

. .  Vi'sto,  lively    animated. 
Vite(Fr.)     Quick(ly). 
Viva'ce(It.)     A  tempo-mark  which,  used 
alone,  calls  for  a  movement  equalling 
or  exceeding  allegro  in  rapidity  ;  when 
used  as  a  qualifying  term,  it  denotes  a 
spirited,    bright,    even-toned    style... 
Vivacenicn'te,     con     vivacez'za,     viva- 
men' te,  con  vivacita',  are  terms  nearly 
synonymous    with     vivace.  . .  Vivacis'- 
simo,  with  extreme  vivacity, //-«/(7. . . 
Vivacet'to,  less  lively  than  vivace,  about 
allegretto. 
Vive.     See  Vif. 

Viven'te  (It.)     Lively,  brisk,  animated. 
Vi'vido,    vi'vo    (It.)      Lively,    spirited. 

(  Vivace.) 
Vocal.     Pertaining  to  the  voice  ;  specifi- 
cally, proper  for  the   singing-voice . . . 
Vocal  cords,    the    2    opposed    muscles 
or    ligaments    set    within    the    larynx, 
whose  vibration,   caused  by  the  expul- 
sion  of  air   from  the    lungs,   produces 
vocal  tones.  . .  Vocal  glottis  (Lat.  riina 
vocalis),    the    aperture    between  the  v. 
cords  when  they  are  approximated  for 
the  production  of  tones. . .  Vocal  music, 
music  written   for  or  executed   by  the 
voice,  as  a  solo  or  with  accompaniment 
. .  .  Vocal  registers,  see  Voice.  . .  Vocal 
score,  see  Score. 
Voca'lion.     See  Reed-organ. 
Vocalisation  (Fr.)     The  art  of  singing 
prolonged    and     sustained     tones     on 
vowels    only .  .  .  Vocaliser,    to  sing   ac- 
cording to  the  rules  of  vocal  art,  using 
only  the  vowels   a   and  e. . .  Vocalises ^ 
vocal  exercises  or  etudes,  generally  sung 
to  the  vowels,  but  also,    in   advanced 
etudes,  to  words. 
Vocalizza're,   Vocaliz'zi    (It.)     Same 
as  Vocaliser,    Vocalises, 


VOCE— VOLUNTARY. 


223 


Vo'ce  (It.,  pi.  voci^  Voice  ;  part.  . .  V. 
ange'lica,  vox  angelica.  .  .  V.  bian'ca 
("white  voice"),  term  applied  to  the 
voices  of  women  and  children,  and  to 
the  tones  of  certain  instr.s  of  similar 
quality. . .  V.  di  ca'mem,  a  voice  of 
comparatively  slight  volume...  K.  di 
go' la,  throaty  or  guttural  voice. ..  V.  di 
pefto,  chest-voice...  V.  di  ripie'no^  a 
ripicno  part  (see  Ripieno) ...  V.  di  te'sta, 
head-voice.  . .  V.  grani'ta,  a  powerful, 
round  voice.  .  .  V.  pastn'sa,  a  full,  soft, 
flexible  voice .  .  .  V.  principn'!t\  leading 
part...  V.  spicca'ta,  a  voice  characterized 
by  clear  enunciation . .  .A  due  {tre)  voci, 
for  2  (3)  parts,  voices  ;  in  2  (3)  parts. . . 
CoUa  voce,  see  Col  canto. .  .Alessa  di 
voce,  see  Messa...Mezza  voce,  sottovoce, 
see  Mezza,  Sot  to. 

Vo'ces  (Lat.)     Plural  of  Vox. 

Vo'gelfl6te,-pfeife  (Ger.)  A  bird-call, 
like  that  played  on  by  Papageno  in 
The  Magic  Flute . . .  Vo'gelgesang,  a 
merula,  or  set  of  small  pipes  standing 
in  water,  the  passage  of  the  wind 
through  the  latter  producing  a  "war- 
bling" tone.  (Also  J'ogelsang.') 

Voice.  (Lat.  vox;  It.  vo'ce;  Fr,  voix; 
Ger.  Slim' me,  specifically  Siftg'stimme.) 
For  the  several  classes  of  the  human 
voice  comp.  Soprano,  JMczzo-scprano, 
Contralto,  Tenor,  Barytone,  Bass. — 
The  word  voice  is  often  made  synony- 
mous with  "  part",  in  imitation  of  for- 
eign usage ;  the  practice  cannot  be 
recommended. .  .Vocal  registers. 
There  is  hardly  any  subject  on  which 
opinions  are  more  irreconcilably  op- 
posed, than  this ;  but  if  we  accept  E. 
Behnke's  definition  (in  his  treatise : 
"  Mechanism  of  the  Human  Voice")  of 
the  term  register — "a  series  of  tones 
which  are  produced  by  the  same  mecli- 
anism"— we  arrive  at  his  conclusion  ; 
namely,  that  there  are  3  principal  vocal 
registers  in  the  female  voice,  and  2  in 
the  male,  the  chief  "  break"  occurring 

in  both  at  -A -— — —   (This     is     the 

the    tone  m— ^-o':^~'  transition  from 
y  or/'J  \j  "  chest" -voice 

to  falsetto  in  tenor  voices.)  The  second 
principal  break  in  the 
female  voice  occurs 
an  octave  higher  at 
In  bass  and  bary- 
tone voices,  the  chief 
break  o  c  c  u  r  s  at 
also,  there  is  a  break  at  this  point. 
(Comp.  the  above-mentioned  treatise.^ 


Voice-part.  i.  A  vocal  part  [Grove, 
II,  p.  526/',  1.17;  and  IV,  p.  493, 
1.15  ;  E.  Prout,  "  Harmony",  p.  58, 
1.7.] — 2.  A  part.  [An  awkward  and 
equivocal  neologism.] 

Voicing.  Tuning,  or  regulating  the 
pitch  and  tone  of,  an  organ-pipe. 

Voil6e  (Fr.)     Veiled. 

Voix  (Fr.)  Voice  ;  part. . .  V.  ange'lique, 
vox  angelica.../'^,  ct'lcste,  an  organ- 
stop  with  2  ranks,  of  the  vnda  maris 
type. . .  V.  de poitriue,  chest-voice. ..  K. 
de  tete,  head-voice...  V.  humaine,  vox 
humana.  .  .A  deux  (trois)  voix,  for  2 
(3)  voices  ;    in  2  (3)  parts. 

Vokal'  (Ger.)  \ocal. . .  ro/cal'musik, 
vocal  music,  with  or  without  accomp. . . 
Vokal' stil,  a  cappella  style  ;  vocal  style. 

Volan'te  (It.,  "flying".)    Light,  swift 

Vola'ta  (It.;  Ger.  Vola'te;  Fr.  Volatine.) 
A  short  vocal  run,  or  trill  ;  a  run,  or 
division  ;  a  light  and  rapid  series  of 
notes. .  .Dimin.  volati'na. 

Volks'lied  (Ger.)  Folk-song. . .  Volks'. 
t{h)iimlich  (Ger.),  in  a  style  character- 
istic of  or  imitating  that  of  the  (Ger- 
man) folk-song,  or  popular  music  in 
general ;  opp.  to  Kunstlied.  A  volks'- 
thiimliches  Lied  is  a  product  of  art  in  the 
style  of  the  folk-song. ..  Volks' ton,  im,  in 
the  style — having  the  general  character 
— of  a  folk-song.  (It.  i)i  mo'dopopola're.) 
. . .  Volks' weise,  same  as   Volks  lied. 

Voll  (Ger.)  ¥v\\. . .  Vol'les  Orckes'ter, 
full  orchestra ;  vol'les  VVerk,  full  or- 
gan ;  mit  vol'lem  Cho're,  with  full 
chorus...  Vollgriffig {''yfi'wh.  full  hands"), 
in  full  chords  or  harmonies. ..  Voll'kcvi- 
iiien,  perfect(ly).  .  .  ]^oll' stimmig,  {a)  in 
full  harmonies  ;  (/')  for  many  parts,  poly- 
phonous.  [  Voll  frequently  occurs  as  a 
suffix  with  the  sense  of  the  Engl,  -ful; 
s-  "&■■>  gt'dan'kenvoll,  thoughtful(ly), 
stiin'niungsvoll,  full  of  (characteristic) 
expression  ;  etc.] 

Vol'ta  (It.)  A  turn  or  \\mt. .  .Prima 
vol  fa  (or  Ima  volta,  Ima,  /a.,  y.),  first 
time;  secundavolta{oT I/da  volta,  eic), 
second  time ;  tina  volta,  once  ;  due 
volte,  twice. 

Volteggian'do  (It.)  Crossing  hands 
(on  a  keyboard);  from  volteggia're. 

Vol'ti  (It.)  "Turn  ov&x  X' . . .  Volti 
su'bito  [V.  S.],  "  turn  over  instantly". 

Volubilmen'te  (It.)     Fluently. 

Vol'untary.     An  organ-solo  before,  dur 
ing,  or  after  divine  service;  also   oi 


224 


VOLUTA— WARBLER. 


casionally    applief'i    to    an    anthem    or 
other  choral  picf'e  opening  the  service. 

Volu'ta  (It.),  Volute  (Fr.)     Scroll. 

Vom  (uer.)  From  the.  .  .  Vo/n  An'/ang, 
=  da  capo;  vom  Blal'te  ("from  the 
page"),  at  sight. 

Voraus'nahme  (Ger.)     Anticipation. 

Vor'bereitung  (Ger.)     Preparation. 

Vor'dersatz  (Ger.)  First  subject  or 
theme  ;  fore-phrase  [Prout]. 

Vor'geiger  (Ger.)     Leader,  ist  violin. 

Vor'halt  (Ger.)  Suspension . . .  Vor'kalts- 
losung,  resolution  of  a  suspension. 

Vor'her  (Ger.)     Before,  previous(ly). 

Vor'ig  (Ger.)  Preceding,  previous  ;  as 
zwr'iges  Zeit'mass,  =  tempo  primo. 

Vor'sanger  (Ger.)  Precentor. 
__Vor^schlag  (Ger.)  Collective  name  for 
the  various  Torms  of  the  accented  ap- 
poggiatura ;  opp.  to  .Yach'scklug,  or 
unaccented  appoggiatura.  .  .Lang'er 
{ku/zer)  Vo/schlag,  long  (short)  ap- 
poggiatura. 

Vor'setzzeichen  (Ger.)  Chromatic  sign. 

Vor'spiel  (Ger.)  Prelude,  introduction  ; 
overture. 

Vor'trag  (Ger.)  Rendering,  interpreta- 
tion, performance,  style,  delivery,  exe- 
cution. . .  Vor'tragshezeichnung,  Vor'- 
tragszeichen,  expression-mark  ;  tempo, 
mark. 

Vor'zeichnung  (Ger.)     Signature. 

Vox  (Lat.,  pi.  z'cVt'.f/ see  below).  Voice. 
. .  Vox  ange'lica  (angelic  voice),  a  4- 
foot  organ-stop  corresponding  to  the  8- 
foot  vox  huina' na. .  .  Vox  antece'dens 
[con'sequens),  the  antecedent  (conse- 
quent). . .  Vox  hunia'na  (human  voice), 
an  8-foot  reed-stop  in  the  organ,  the 
tone  of  which  has  a  [fancied]  resem- 
blance to  the  human  voice  ;  a  solo  stop, 
usually  drawn  with  the  tremulant. — 
Also  occurs,  especially  in  Italy,  as  a 
flue-stop,  and  occasionally  in  2  ranks, 
one  of  reed-pipes,  the  other  of  flue- 
pipes...  Fbx  virginea,  same  as  Vox 
angelica. . .  Vo'ces  cBqua'les,  equal  voices. 
. .  Vo'ces  Areti'nis,  the  Aretinian  syl- 
lables..  .Vo'ces  bel'gica,  the  Belgian 
solmisation-syllables  bo  ce  di  ga  lo  ma 
ni  ho. 

Vue  (Fr.)  .Sight;  a premilrevue^'^x'vcrvdi 
vista. 

Vulga'ris  (Lat.)  In  the  organ,  a  flute- 
stop,  tibia  being  implied. 


Vuo'to,-a  (It.)  Open  ,  as  corda  vuoia, 
open  string. 

w. 

W  (as  a  double  V,  in  Fr.  usage).  Marks 
violin-parts  copied  from  a  score. 

Waits.  [Also  Waytcs,  Wayghtes,  etc.] 
Originally,  a  class  of  street-watchmen 
in  England,  who  gave  notice  of  their 
approach  by  sounding  horns  or  other 
instr.s.  The  name  then  appears  to  have 
been  transferred  to  town-musicians, 
and  still  later  to  various  irregular  bands 
of  indifferent  music-makers,  in  which 
latter  application  it  is  not  yet  obsolete. 
— Whether  the  instr.  chiefly  affected  by 
these  musicians  (a  species  of  shawm  or 
oboe)  derived  its  name  from  them,  or 
vice  versa,  is  a  moot  point. 

Wald'flote  (Ger.,  "forest  flute";  Lat. 
tib'ia  silves'iris.)  In  the  organ,  an 
open  metal  flute-stop  of  broad  scale 
and  usually  of  2  or  4-foot  pitch,  having 
a  suave,  full,  resonant  lone. 

Wald'horn  (Ger.)  The  French  horn 
without  valves.  {Also  Jagd' horn,  Na- 
tur'  horn.) 

Waltz.  (Ger.  Wal'zer;  Fr.  valse;  It. 
vaher.)  A  round  dance  in  3-4  time, 
and  in  tempo  varying  from  slow  to 
moderately  fast, — from  the  primitive 
Ldndler  and  ordinary  German  waltz  up 
to  the  sprightlier  trois-temps  (ordinary 
waltz)  and  deux-temps  (rapid  waltz). 
The  steps  of  these  waltzes  vary  thus  : 


Slow  German 


3  » 
4l 


1      I 


TTT 


Ordinary  Waltz  \      r. 

(trois  temps,     (  4  5 

Wiener  Walzer)  )     ^ 


1. 


Quick    waltz  \  \     \ 

(deux-temps,  >       ^  P   T 

Zweitritt)  )  *'  ' 
The  origki  of  the  waltz  is  variously 
ascribed  to  Bohemia,  Germany  {Ldnd- 
ler), and  France  {volte). . .  Waltz  is  also 
the  title  of  numerous  effective  instru- 
mental pieces  in  triple  time,  but  not 
meant  for  dance-music. . .  Waltz-song, 
a  song  in  waltz-rhythm. 

Wal'ze  (Ger.,  "  roller  ").  An  undulating 
figure  (see  Rolle). 

Wan'kend(Ger.)   Wavering,  hesitating. 

Warbler.  On  the  bagpipe,  a  term  ap- 
plied to  various  forms  of  melodic  em- 
bellishment (graces). 


WARME— WIRBEL. 


225 


War'me  (Ger.)  Warmth  ;  mit  gro'sser 
Wdrme,  with  great  warmth. 

Was'serorgel  (Ger.)     Hydraulic  organ. 

Waste-pallet.     See  Vahe. 

Water-organ,     Hydraulic  organ. 

Wayghtes.     See  JVaits. 

Weakaccent,  beat,  pulse.   ?,&&  Accent. 

Wech'selgesang  (Ger.)  Antiphonal 
(responsive)  singing  or  song. . .  IVech'- 
selnott',  changing-note. 

Weh'mut(h)  (Ger.)  Sadness,  melan- 
choly. . .  Weh'7)iut{Ji)ig,  sad,  mournful, 
melancholy.     {Mso  adverb.) 

Weich  (Ger.)  i.  Soft,  tender  ;  mellow, 
suave  (also  adverb'). — 2.  Minor. 

Weight  of  wind.  The  tension  of  the 
compressed  air  supplied  by  the  organ- 
bellows  to  any  stop  or  group  of  stops  ; 
the  mean  pressure  raises  a  column  of 
water  in  a  U-tube  to  the  height  of 
about  3  inches,  hence  the  technical  ex- 
pression "an  inch"  or  "two  inches" 
of  wind  ;  a  stop  is  said  to  be  "  voiced 
on  a  3,  6,  or  lo-inch  pressure,"  etc. 

Wei'nend  (Ger.)     Weeping. 

Wei'sse  Note  (Ger.)  A  "white,"  or 
open,  note. 

Weit  (Ger.)   Broad  ;  open  (of  harmonies). 

Wel'le  (Ger.)  Roller  (organ) ...  «^^//- 
atnr\  system  of  rollers. .  .  IVel'lenbrett, 
roller-board. 

Well-tempered.  In  equal,  and  conse- 
quently satisfactory,  temperament ;  as 
J.  S.  Bach's  Well-tempered  Clavichord 
(Ger.    Wohl'tempn-irtes  Clavier'). 

We'nig  (Ger.)  Little  ;  ein  klein  wenig 
lattg'samer,  a  very  little  slower. 

Werk  (Ger.)  In  the  organ,  (a)  the  set 
of  stops  controlled  by  one  keyboard  ; 
(b)  a  stop  or  register. 

Wert(h)  (Ger.)     Value,  time-value. 

We'sentlich  (Ger.)  Essential. . .  JVe'- 
sentliche  Dissonanz' ,  a  dissonant  chord- 
tone,  in  contradistinction  to  a  disso- 
nance produced  by  a  passing  or  chang- 
ing-note. 

Wet'terharfe  (Ger.)     yEoIian  harp. 

Whistle.  The  smallest  and  most  prim- 
itive type  of  instr.  with  a  flageolet  or 
flue-pipe  mouthpiece.  Comp.  Ficco- 
pipe. 

White  keys.  The  continuous  lower  row 
of  digitals  on  a  keyboard  ;  formerly 
they  were  black,   the  now  black  keys 


then  generally  being  \i\\\X.Q.  .  .White 
note,  one  having  an  open  (not  solid) 
head  (^   J). 

Whole  note.  See  A'ote. . .  Whole  shift, 
see  Shift . . .  Whole  step,  {a)  a  step  of  a 
whole  tone  ;  {b)  a  whole  tone . . .  Whole 
tone  (Ger.  Ganz'ton  ;  Fr.  ton  plei}i ; 
It.  tcno  intero),  see  Footnote,  p.  103. 

Wie  (Ger.)  As. . .  Wie  o'bcn,  as  above  ; 
vjie  vor' her,  as  before,  as  at  first ;  wie 
aus  der  Fer'ne,  as  from  a  distance. 

Wie'der  (Ger.)  Again .  .  .  Wie'dergabe, 
performance,  production,  rendering,  in- 
terpretation, reading.  . .  Wiederher' stel- 
htngszcichen,  see  Aiif  losungszeichen. 
.  .  Wiederho'lung,  repetition  ;  W.s- 
zeichen,  repeat. 

Wiegenlied  (Ger.)  Cradle-song,  lulla- 
by ;  berceuse. 

Wind-band.  i.  A  company  of  per- 
formers on  wind-instr.s. — 2.  The  wind- 
instr.s  in  the  orchestra  ;  also,  the  per- 
formers on,  or  parts  written  for,  the 
same. . .  Windchest,  see  Organ. . .  Wind- 
gauge,  an  apparatus  for  measuring  the 
wind-pressure  in  the  windchest  of  an 
organ.  It  consists  of  a  twice-bent  glass 
tube,  having  water  in  the  U-shaped 
end,  the  other  end  being  fixed  in  a 
socket ;  on  setting  the  socket  in  a  hole 
in  the  soundboard,  and  letting  the  wind 
on,  the  water  rises  in  the  outer  arm  of 
the  U-shaped  tube,  indicating  the  wind- 
pressure  by  the  height  in  inches  to 
which  it  is  forced.  (Comp.  Weight.) 
.  . .  Wind-instruments  (Ger.  Blas'in- 
struuie7ite;  Fr.  instruments  &  vejtt ;  It. 
stromeii'ti  da  fa' to),  instruments,  the 
tones  of  which  are  produced  by  wind 
(i.  e.  compressed  air),  the  vibrations 
excited  in  the  latter  being  transmitted 
to  an  air-column  enclosed  in  a  tube  (e.  g. 
an  organ-pipe,  or  any  orchestral  instru- 
ment blown  by  the  mouth),  or  directly 
to  the  open  air  (e.  g.  free  reeds  without 
tubes).  The  vibrations  of  the  wind  are 
excited  {a)  by  its  impinging  on  a  sharp 
edge  (flageolet,  flute,  organ-pipe),  {b)  by 
the  interposition  of  a  vibratile  reed  (cla- 
rinet, oboe,  reed-pipe),  or  (r)  by  the 
vibration  of  the  player's  lips  (horn, 
trumpet,  trombone).  (Comp.  art.  /«- 
struments.).  .  .  Windtrunk,  see  Organ. 

Windharfe  (Ger.)  ^olian  harp. . .  Wind', 
hasten,  windchest. ..  Wind' lade,  sound- 
board (organ) . . .  Wind' wage,  wind- 
gauge. 

Wir''bel  (Ger.)    i.  Peg;    Wir'belkasim, 


226 


WOHLTEjMPERIRT— 2AR2UELA. 


peg-box. — 2.    Roll    (on   a  drum). — 3. 
Same  as  Schldgcl,  the  more  usual  term. 

Wohl'temperirt  (Ger.)  See  Wcll-icm- 
percd. 

Wolf.  I.  A  discord  induced  in  certain 
keys,  on  keyboard  instr.s  (especially 
the  organ),  by  inequality  of  tempera- 
ment, such  as  was  inherent  in  the  so- 
called  "meantone"  system.  (Not  sy- 
nonymous with  the  Ger.  Or'gehvolf.) — 
2.  In  bovv-instr.s,  the  wolf  is  the  im- 
perfect or  jarring  vibration  of  some 
particular  tone  or  tones,  and  is  pre- 
sumably due  to  some  defect  in  the 
build  or  adjustment  of  the  instrument. 

Wolf  (Ger.)  Wolf;  specifically,  the  12th 
fifth  in  the  circle  of  fifths,  being  the 
one  which  causes  the  main  difficulty. 

Wood-'wind.  The  orchestral  wood-in- 
str.s  collectively  ;  or  the  performers  on 
them. 

Working-out.     Same  as  Development. 

Wrest.     A  tuning-hammer. 

Wrestblock,  Wrestplank.  See  Piano- 
forte. 

Wuch'tig  (Ger.)      Weighty,    weightily, 
^    ponderous(ly),  with   strong   emphasis, 
risoluto. 

Wiir'de  (Ger.)  Dignity  ;  mit  IF.,  or  wtir'- 
devoll,  dignified. 

Wii'thend  (Ger.)  Furious,  frantic  ;  fn- 
rioso. 

X. 

Xanor'phica.  (Ger.  Xdtior'phika)  A 
variety  of  the  piano-violin,  and  the 
most  complicated  of  all,  there  being  a 
separate  bow  for  each  string  ;  inv.  by 
K.  L.  Rollig  of  Vienna  in  1797. 

Xylharmon'ica.  (Ger.  Xylharmo'nikon). 
A  keyboard  instr.  inv.  by  Utho  of  San- 
gerhausen  in  1810,  and  resembling 
Chladni's  Euphonium,  but  with  wooden 
wands  instead  of  glass  rods  ;  an  im- 
proved Xylosistron. 

Xyl'ophone.  (Lat.  lig'neum  psalte'ri- 
um;  Ger.  Stroh'fiedel,  Holz'harino- 
nika,  Hoh'-  und  Stroh' instrument, 
hol'zerms  Gellich'ter;  Fr.  claqnebois, 
^chelette,patouille,  xylor^anon;  It.gige- 
li'ra,  sticca'do.)  A  very  ancient  and 
widely  disseminated  instr.  (Europe, 
Africa,  America), consisting  of  a  diaton- 
ically  graduated  series  of  flat  wooden 
bars  adjusted  horizontally  upon  2  cords 
(which  are  sometimes  made  of  twisted 


straw),  and  played  on  with  2  mallets  ; 
a  wooden  dulcimer,  capable  of  pleasing 
effects  in  the  hands  of  a  skilful  player. 
Usual  compass  2  octaves,  or  a  little 
more. 
Xylosis'tron.  The  parent  instrument 
of  the  .xylharmonikon  ;  inv.  by  Utho  in 
1807. 


Yang  Kin  (Chinese.)     A  Chinese  instr. 

resembling   the    dulcimer,    with    brass 

strings. 
Yodel,   Yodler.     English   spellings    of 

J  ode  In ,  jodler. 

z. 

Za.  Former  syllable-name  for  B^,  in 
solmisation. 

Zahlen  (Ger.)  To  count ;  2a7//<f,  count... 
Ziihlzeit,  a  count. 

Zale'o.     See/aleo. 

Zampo'gna  (It.)  i.  Bagpipe. —2. 
Shawm. 

Zapatea'do  (Span.)  A  Spanish  dance, 
in  which  the  dancers  mark  the  rhythm 
by  stamping. 

Zap'fenstreich  (Ger.)  The  tattoo.— The 
gro'sser  Zapfenstreich  is  an  imposing 
mus.  finale  of  a  military  review,  com- 
mencing with  a  grand  crescendo  roll  on 
the  drums  of  the  combined  regimental 
bands. — The  Z.  was  originally  a  blow 
{Streich)  struck  on  the  bung  {Zapfen) 
of  the  cask  of  beer  or  wine,  signifying 
that  drinking  in  camp  must  cease  for 
the  night ;  hence,  a  musical  signal  to 
drive  the  bung  into  the  bung-hole,  to 
attain  that  end. 

Zaraban'da  (Span.)   Saraband. 

Zar'gen  (Ger.,  pi.)     Ribs. 

Zart  (Ger,)._Tender,  soft,  delicate  ;  slen- 
der. .  .Mit zar^ten  Stim'men,  with  soft- 
toned  stops.  .  .Zart'fidte.  in  the  organ, 
a  4-foot  flute-stop  of  very  delicate  in- 
tonation, the  pipes  having,  instead  of 
the  block,  a  windway  reaching  up  from 
the  foot,  and  directed  against  the  upper 
lip. 

Zart'Hch  (Ger.)  Tender(ly),  caressing(ly). 

Zarzue'la  (Span.)  A  two-act  drama  with 
incidental  music,  resembling  a  vaude- 
ville ;  so  called  because  first  performed 
in  the  royal  castle  of  Zarzuela,  in  the 
17th  century. 


ZEFFIROSO— ZOPPO. 


227 


Zeffiro'so  (It.)     Zephyr-like. 

Zei'chen   (Ger.)     A  sign. 

Zeit  (Ger.)  Time.  Also,  same  as  Takt- 
teil.  . .  Zeit' mas s ^  tempo  ;  itn  ersten  (or 
vor'igen)  Zei/»iass,  =  tempo  primo.  .  . 
Zeifmesser,  metronome. .  .Zeit'zvcrti^h), 
time-value. 

Zelosamen'te  (It.)  Zealously,  enthu- 
siastically. .  .Zt'lo'so,  zealous,  enthusias- 
tic, ardent ;  marking  passages  to  be 
performed  with  energy  and  fire.  Also 
con  ze' lo. 

Zerstreut'  (Ger.)  Dispersed,  open. 

Zieh'harmonika  (Ger.)  Accordion. 

Ziem'lich  (Ger.)  Somewhat,  rather. 

Zier'lich  (Ger.)  Neat,  delicate  ;  grace- 
ful, elegant.      (Also  adverb.) 

Zif'fer(Ger.)  Y'\^\x.rQ...Bezif' fert,  figured; 
Bezi/'feriing,  figuring. 

Zigeu'nerartig  (Ger.)  Gypsy-like . . . 
Zigen'nennnsik,  Gypsy  music. 

Zim'balon.  An  improved  dulcimer  much 
employed  in  Hungarian  music,  provided 
with  dampers,  y^     P  r  o  - 

and    having    a  r^.  Zx~^ —  longa- 

chromatic  scale  ^"=zn^z^)  tion  of 

of    4   octaves :         -^     \j  a  tone 

is  obtained  by  its  rapid  reiteration, 
marked   p. 

Zim'belstern  (Ger.)  A  sort  of  toy-stop 
in  some  old  organs,  consisting  of  a 
star  hung  with  little  bells,  placed  con- 
spicuously in  front  of  the  organ,  and 
caused  to  sound  by  a  current  of  air 
controlled  by  a  draw-stop. 


Zingare'sca  (It.)  A  Gypsy  song  or  dance; 
specifically,  a  song  sung  by  maskers 
during  the  Carnival. 

Zingare'sco,-a  (It.)  Pertaining  to  Gyp- 
sies, Gypsy-like. .  .Z/w^rtr/j^,  alla^  in 
G>'psy  style. .  .Zi'ngaro, -a,  a  Gypsy; 
a//a  zi'ftgara,  in  Gypsy  style. 

Zin'ke  (Ger.;  It.  cornet' to).  (Also  Zink, 
Zinken.)     See   Cor  net  to. 

Zir'kel  (Ger.)  Circle. .  .Zir'ke I kanon, 
infinite  canon. 

Zi'ther  (Ger.,  pron.  tsit'ter ;  Engl,  pro- 
nun,  zith'er.)  [The  Ger.  Zither  \s  a  very 
different  instr.  from  the  old  Engl,  cither 
or  cittern;  to  prevent  confusion,  it 
would  be  well  to  adopt  the  Ger.  spelling 
for  the  modern  instr.] — \.{Schlag' zither, 
i.  e.  plucked  zither.)  The  zither,  as 
developed  from  the  primitive  peasant- 
instr.  of  the  German  Alps,  has  32  or 
more  strings  stretched  over  a  shallow 
wooden  resonance-box,  which  is  pro- 
vided with  a  soundhole,  and  bears  a 
bridge  near  the  right  end  and  a  fretted 
fingerboard  on  the  side  ne.xt  the  player. 
Above  the  fingerboard  are  5  melody- 
strings  stopped  by  the  left  hand,  tuned 
■  I  ^Y  M  |—  the  2  ^'s  be- 
'^  l~^"=tz  *_;  ing  steel,  the  D 
brass,  the  G 
steel  silver-covered,  and  the  C  brass 
copper-covered.  These  5  are  plucked 
with  a  metal  or  tortoise-shell  ring  worn 
on  the  right  thumb  and  having  a  pro- 
jecting spur.  The  accompaniment- 
strings,  tuned  in  fourths  as  follows  : 


-  1    \iwzz. 


^^i^^B^^gfe^gg^^ 


are  plucked  by  the  fore-,  middle,  and 
ring-fingers  of  the  right  hand,  the  lit- 
tle finger  resting  behind  the  bridge  to 
steady  the  hand.  They  are  of  gut,  or 
covered  silk,  variously  colored  to  guide 
the  player's  eye  and  fingers.  The  3 
ordinary  sizes  of  zither  are  the  Treble 
Zither  {^P rim' zither),  Concert-Zither, 
and  Elegie' -Zither  (also  called  Alt- ox 
Liederzither,  and  tuned  a  fourth  be- 
low the  Prim-  and  Concertzither). — 
2.  {Streich' zither,  i.  e.  Borv-zither.) 
The  earlier  bow-zithers  were  heart- 
shaped  ;  of  the  newer  ones,  the  Viola- 
Zither  has  the  form  of  a  viola, 
while  the  Philoniele  has  a  more  pointed 
body  and  shallower  bouts  ;  they  are 
varieties  of  the  viol,  with   short  neck. 


fretted  fingerboard,  and  4  strings  in 
violin-tuning,  the  E  and  A  of  steel, 
the  D  of  brass,  and  the  G  of  silk  silver- 
covered  ;  but  the  bow-zither  is  held 
quite  differently  from  the  viol,  its  head 
being  furnished  with  a  little  foot  which 
rests  on  the  edge  of  the  table  before  the 
player,  who  holds  the  body  in  his  lap. 

Zit'ternd  (Ger.)   Trembling,  tremulous. 
Zo'gernd    (Ger.)    Hesitating,  lingering, 
retarding. 

Zolfa'  (It.)     Sol-fa. 

Zop'po,-a  (It.)    "Halting,   limping". — 
Alia  zoppa,  syncopated  ;   as  the  rhythm 

4  J  J  J  I  J  J  J  ■'  ^'s°  applied  to 
Magyar  music  with  the  rhythm  ; 


228 


ZOULOU— ZWOLF. 


J/- 


i'iJ:\J:J'i\.f.J>J'J:\J'J'  J'J 


Zoulou  (Fr.,  "Zulu".)  A  style  of  pia- 
nette. 

Zu'fallig  (Ger.)  Accidental(ly) . . .  Z«'- 
fdlligt's  Verse f  zungszeic hen ,  accidental. 

Zuf'folo  (It.)  A  small  flageolet,  such  as 
is  employed  in  training  singing-birds. 
(Also  Zu'folo.) 

Zug  (Ger.)  I.  Same  as  Regis' terzug. — 2 
A  pedal  (pfte.)— 3.  A  slide  (of  a  trom- 
bone, etc.). .  .  Zug'trompete,  slide-trump- 
et..  .  Zug'werk^  tracker-action  (in  the 
organ). 

Zu'kunftsmusik  (Ger.)  Music  of  the 
future  ;  a  term  first  used  (according  to 
R.  Wagner)  about  1S50,  by  Dr.  L.  Fr. 
Chr.  Bischoff,  in  a  satire  on  Wagner's 
essay  upon  "  The  Art -work  of  the 
Future"  [Das  Kunstwerk  der  Zu- 
kunft].  The  word  has  been  adopted, 
by  enthusiastic  disciples  of  the  neo- 
German  cult,  as  an  epithet  of  distinc- 
tion, with  the  meaning  "  music  ivith  a 
future  " — a  definition  whose  correctness 
can  hardly  be  successfully  disputed. 

Zu'nehmend  (Ger.)  Increasing,  e>-e- 
scendo. 

Zun^e  (Ger.,  "tongue").  Reed... 
Zung'enpfeife,  reed-pipe . . .  Zuug'en- 
siimme,  reed-stop... Zung'emverk,  ''  the 
reeds,"  reed-stops  of  the  organ,  con- 
sidered collectively. .  .Aiif'schlagende 
Zunge,  beating  reed  ;  durch'schlagende 
Zunge,  free  reed. .  .Dop'pelzunge,  etc., 
see    Tonguing. 

Zuriick'halten  (Ger.)  To  retard . . . Z«- 
riick'haltend,  ritardando  . . .  Zuriiek'- 
haltung,  retardation . . .  Zuruck'sehlag, 
same  as  Ribattii'ta. 

Zusatn'men  (Ger.)  Together,  simultane- 
ous(ly);  bei'de  Cho're  zusammen,  both 


choruses  (choirs)  together ..  .Zusam'- 
ntenklang.  a  sounding  together,  simul- 
taneous sounding  of  2  or  more  tones  ; 
a  "solid"  chord.  ..  Zusam' me  ngesefzt, 
combined,  compound ;  zi(sam'menge- 
setzte  Takt'art,  compound  time... 
Zusam'menschlag,  acciaccatura .  . .  Zu- 
satn' men  spiel,  playing  together  ;  en- 
semble-playing. .  .  Ziisnm'menstreichen, 
to  slur  (either  by  means  of  the  sign 
called  a  slur,  or  by  joining  the  hooks  of 
hooked  notes);  Zusam' menstreichung, 
slurring. 

ZTvei  (Ger.)  'YviO. .  .Zwei'chorig.,  for  2 
choruses  (or  divided  chorus).  .  .Z-vei'- 
fach,  {a)  double,  as  counterpoint ;  (3) 
in  2  ranks,  as  organ-stops  ;  (r)  com- 
pound, as  intervals ...  ZK'^f'_/«j-.«>, 
2-foot. .  .Z'cei'gesang,  a  duet. .  .Zwei'~ 
gestrichen,  see  Gestri'cken.  .  .Zwei'- 
halbe  Takt,  2-2  time . .  .  Zivei'hdndig, 
for  2  hands. .  .Zzuei'sfimmig,  for  2 
voices  ;  in  or  for  2  parts . . .  Zzvei'tel 
{-note),  a  ha.\{-r\oX.e. .  .Z7uei'tri it,  see 
IValtz. . .  Zweiunddrei' ssigstel {-note),  a 
32nd-note.  .  .  Zwei-ner' teltakt,  2-4  time. 
.  .Zwei'zdhliger  Takt,  duple  time... 
Z'veizwei' teltakt,  2-2  time. 

Zwerch'flote,  Zwerch'pfeiff  (Ger.) 
The  cross-flute,  or  German  flute, 

Zwisch^en  (Ger.)  Between,  intermedi- 
ate..  .Zzc'/jfr/z'c'wa/^^,  an  entr'acte; 
Zwisck'enaktsmusik,  act-tune(s). . . 
Zwisch'enkai-monie,  see  Z'visck'ensatz, 
. .  ZzL'isch' enraum,  space. . .  Zwisch' en- 
satz,  episode. .  .Zivisch'enspiel,  inter- 
lude, intermezzo. 

Zwit'scherharfe  (Ger.)  See  Spitz'harfe. 

Z wolf  (Ger.)  Twelve . . .  Zwolfach'teU 
takt,  12-8  Xivae. .  .Zwol/' sailer,  see 
Bissex. 


APPENDIX 

OF 

ADDITIONS  AND  CORRECTIONS 


APPENDIX. 

(An  asterisk  ♦  refers  to  an  earlier  article  in  body  of  Dictionary.) 


Abbandonan'dosi  (It.)    Yielding  wholly 

to  emotion  ;  with  a  burst  of  passion. 
Abbandona-re  (It.)    To  leave,  to  quit ; 
sen'za  abhatidona're  la  cor'Ja,  without 
quitting  the  string. 
♦Abbreviations.     Add  to  former  list : 
c.f.     Canto  fermo  ;  cantus  firmus. 
Div.     Divisi,  divise. 
incalz.     Incalzando. 
Mov'°.     Movimento. 
ovv.     Ovvero. 
po'     poco. 
A'bendunterhaltung  (Ger.)   Pupils'  con- 
cert (in  a  music-school  ;  given  for  en- 
semble-practice   or   quasi   public    per- 
formance).    (Also  Ubtuigsabcnd.) 
Ab'langen  [eines  Tones]  (Ger.)    Taking 
[a  tone]   by  extension  (in  violin-tech- 
nic). 
Ab'schleifer  (Ger.)     Staccato-dash  ( t  t ). 
Accenta'te  (It.;  plural  form  oiaccenta'ta, 
"  le    note"    being    implied.)       i.    Ac- 
cented,    marked.— 2    (imperative,    pi.). 
Accent !     Emphasize  ! 
Accentua're  (It.)    To  accent . . .  Acccntti- 
an'do,  accenting. .  .^(r-rcw/wa'/dJ.-fl!,    ac- 
cented. 
Accessit  (Fr.)     Honorable  mention. 
Accord'zither  (Ger.)     See  Zitherharfc. 
/Eo'lian.     A  reed-organ  of  the  American 
type,  the  air  being  drawn  through  the 
reeds.     It  has  a  keyboard,  and  may  be 
played  like  an  ordinary  organ  ;  but  its 
distinguishing  feature  is  a  mechanical 
arrangement  for  executing  music  with- 
out using  the  keyboard.     Motive-power 
and  wind  are  supplied  by  two  pedals 
(treadles)  worked  by  the  feet ;  the  time- 
value  of  the  notes  is  controlled  by  per- 
forations in  a  gradually  unrolling  sheet 
of  paper,  the  music-roll  ;  the  tempo  is 
regulated  by  a  stop  called  the  Motor ; 
and  the  expression  is  regulated  {a)  by 
the  pedal-movement,  (/')  by  two  knee- 
swelis,  and  (c)  by  the  registration.     In 
the  largest  instr.s  there  are  ten  speaking 
stops,  and  a    Tremolo,     The  yEolian 


is  remarkable,  not  merely  for  extreme 
technical  precision,  but  for  the  great 
variety  and  artistic  finish  of  musical  ef- 
fects, both  tempo  and  expression  being 
wholly  at  the  player's  command. — The 
''Aeolian  "  and  the  keyboard  (which  has 
4  independent  stops)  may  also  be  played 
together,  the  keyboard  being  used  to 
play  an  accompaniment  to  the  yEolian. 
The  instr.,  which  is  the  product  of  long 
evolution,  became  known  under  its  pres- 
ent name  about  the  year  1883,  in  New 
York.  Its  repertory  includes  all  classes 
of  music,  and  at  present  (1900)  com- 
prises about  20,000  numbers.  It  has  a 
scale  of  53  semitones  (the  keyboard  has 
6  octaves) ;  and  all  its  music-rolls  also 
fit  the  Pianola  {q.v). 
Affretta're  (It.)   To  hasten,  to  accelerate. 

. ,  Setiza  affrettarc,  without  hastening. 
A  fior'  di  lab'bra  (It.;  Fr.  au  bout  des 
l}vres ;    Ger.  gehaucht.)     Very   lightly 
and  softly  sung  or  spoken. 
Aggiun'to,-a  (It.)     Added,  interpolated. 
. .  .Arie  aggiunte  (pi.),  airs  interpolated 
in  an  opera,  etc.,  to  which  they  did  not 
originally  belong. 
Air  coup6  (Fr.)     An  air  of  set  form. 
Album-leaf.   (Ger.  Albumblatt;  Fr.  Feuil- 
let    d' album;    It.     Pagina    d' album.) 
Title  of  a  short  and  (usually)    simple 
vocal  or  instr.l  piece. 
Alexandrine  verse.     "  An  iambic  hex- 
apody,  or  series  of  six   iambic   feet. — 
French    Alexandrines    are    written    in 
couplets,  alternately  acalectic  with  mas- 
culine  rimes   and   hypercatalectic  with 
feminine  rimes. .  .The  cesura  occurs  at 
the  end  of  the  third  foot.     The  second 
line  of  the  following  extract  is  an  ex- 
ample : 

'  A  needless  Alexandrine  ends  the  song, 
That,   like  a  wounded  snake,  drags  its  slow 
length  along.'— (Pope.)" 

[The  Century  Dict.] 
Allarga'te  (It.  ;  imperative.)    Slower  and 

broader. 
Amu'sia.     Loss  of  the  musical    faculty. 

[British  Medical  Journal,  Dec.  22, 

1894.] 


23S 


ANCORA   PIANO— BASSHORN. 


Anco'ra  pia'no  (It.)  Still  [sing  or  play] 
softly  ;  equiv.  to  sempre piano. 

Andan'do  (It.)     Same  as  Andante. 

An'denken  (Ger.)  Recollection,  souvenir. 

*A'nima  (It.)  3.  Core  (of  a  covered 
string). 

A  par'te  (It.)  Aside  ;  e.g.,  sottovoce  a 
parte. 

*Aper''to,-a  (It.)    Open  (of  organ-pipes). 

Appe'na  (It.)     Hardly,  very  little ;   ap. 

pena  animando,  a  very  little  faster  ;  ap- 

pena  meno,  a  trifle  slower. 

Appoggiamen'to  (It.)     Chin-rest. 

Appuyer  (Fr.)     To  sustain. 

A  quat'tro  par'ti  (sole)  (It.)  For  four 
(solo)  parts. 

Arched  viall.  [Bow-viol?]  Pepys' Diary 
(Oct.  5,  1664)  describes  this  instr.  as 
"  being  tuned  with  lute  strings  and 
played  on  with  keys  like  an  organ  ;  a 
piece  of  parchment  is  always  kept  mov- 
ing, and  the  strings,  which  by  the  keys 
are  always  pressed  down  upon  it,  are 
grated  in  imitation  of  a  bow,  by  the 
parchment ;  and  so  it  is  intended  to  re- 
semble several  vialls  played  on  with  one 
bow,  but  so  basely  and  so  harshly  that 
it  will  never  do.  But  after  3  hours'  stay 
it  could  not  be  fixed  in  tune,  and  so 
thay  were  fain  to  go  to  some  other 
musique  of  instruments." 

Arcichitar'ra  (It.)  A  modern  Chitar. 
rone. 

Ardo're,  con    (It.)    With  ardor,  warmth. 

*A'ria  (It.)  Aria  d'entra'ta,  the  first  air 
allotted  to  a  leading  singer  (in  opera) 
on  entering  the  stage.  .  .Aria  di  sorti'- 
ta,  an  air,  at  the  conclusion  of  which 
the  singer  makes  his  e.xit.  [The  Sor- 
tita  is,  however,  also  the  name  for  the 
first  number  sung  by  any  of  the  leading 
characters  in  an  opera]..  .Arie  aggiun'- 
te,  see  Aggiunto. .  .Aria  also  signifies 
wind  (in  the  organ,  etc.). 

*Ariet'ta  alia  venezia'na  (It.)  Little 
air  in  "  V'enetian  "  style;  i.e.,  a  bar- 
carola. 

Arietti'na  (It.)  A  brief  or  trifling  ari- 
etta. 

Armag'gio  (di  corde)  (It.)  Set  of  strings. 
(Also  Montatura.) 

Ascenden'te  (It.)     Ascending. 

Aspirant'  (Ger.)  A  young  musician  in 
an  orchestra,  on  half-pay,  "aspiring" 
to  full  membership. 


A'spro,-a  (It.)     Harsh,  rough. 

Assie'rae  (It.)  Same  as  Etisemble.., 
Pezzo  d'assieme,  a  concerted  piece. 

As<-.uc'cio  (It.)     Music-roll,  music-case. 

Auda'cia,  con  (It.)    With  boldness. 

Auf'hebungszeichen  (Ger.)  The  "  can- 
cel "  or  natural  (1;). 

Auflegestimmen  (Ger.)  The  separate 
parts  of  an  orch.l  composition,  to  be 
"  laid  on  "  the  music-desks. 

Auf'loser  (Ger.)    The  "cancel"  ornatu- 

ral  (S). 

Auf'schwingend  (Ger.)    Soaring(ly),  im- 

petuous(ly)  ;  con  impeto. 

Auf'schwung  (Ger.)  Lofty  flight,  soar- 
ing impetuosity  ;  mit  A.,  in  a  lofty,  im- 
petuous,  impassioned  style. 

Aus'gefuhrter  Choral'  (Ger.)  A  "  worked 
out "  choral ;  a  choral  with  free  counter, 
point ;  or,  with  contrapuntal  working- 
out  ;  or,  contrapuntally  worked  out  (de- 
veloped). 

Aus'stattungsstuck  (Ger.)  Spectacle, 
spectacular  play  or  opera. 

Autoar'pa  Wagner  (It.;  "  Wagner  Au- 
toharp.")  An  improved  autoharp  (AJi. 
kordzilher)  inv.  1896  by  E.  Glasel  of 
Markneukirchen,  the  mechanism  of 
which  permits  playing  in  any  of  the 
ordinary  keys. 

Autre  (Fr.)    Other;  another,  different. 
Avec  ame  (Fr.)     Same  as  con  anima. 
Avec  le  chant  (Fr.)    Same  as  col  canto. 
A  volenti  (Fr.)     Same  as  a  piacere. 

B. 

Babillage  (Fr.)     Babbling,  chatter. 

Badinerie  (Fr.)     Same  as  Badinage. 

Bagatel'la  (It.)     Bagatelle. 

Baglio'ra  (It.)  Flash  of  light ;  title  for 
a  swift,  light  and  piquant  composition. 

BalancelTa  ( It. ;  Fr.  balancellc)  A  piece 
of  music  imitating  the  easy  rocking  of  a 
sailboat. 

Baldamen'te  (It.)    Boldly. 

*Ballabi'le  (It.)     2.  Ballet-music. 

Ballatel'la  (It.)     A  short  ballad. 

Bassanel'lo  (It.)  i.  An  obsolete  wood- 
wind instr.  allied  to  the  bassoon,  with 
double-reed  in  a  conical  mouthpiece 
carried  by  an  S-shaped  crook. — 2.  A 
4-foot  or  S-foot  reed-stop  in  old  organs. 

*Bass'horn  (Ger.)    A  wood-wind  instr. 


BASSIST— CAPOPHONE. 


233 


inv.  byFrichot  in  1804,  and  already  ob- 
solete, allied  to  the  Serpent,  but  with 
a  brass  bell,  and  a  cupped  mouthpiece 
on  an  S-crook.  Compass  4  octaves  {C 
to  c^). 

Bassist'  (Ger.)     Bass  singer. 

*Bas'so  (It.)  3.  An  8-foot  pedal-stop 
on  the  organ. 

Basso'ne  (a  lingua)  (It.)  A  16-foot 
reed-stop  on  the  swell-organ. 

*Bassoon  (compass).  The  Ai  below  j5i^) 
is  occasionally  used  (Raff). 

Bavardage  (Fr.)    Chatter,  tittle-tattle. 

Bel  canto  (It.)  The  art  of  beautiful 
song,  as  exemplified  by  the  finest  Italian 
singers  of  the  iSth  and  19th  centuries, 
and  their  pupils  or  imitators.  The  term 
is  used  especially  in  contradistinction  to 
the  "declamatory"  style  of  dramatic 
vocalism  brought  into  such  prominence 
by  Wagner. 

Bien  chant6  (Fr.)  Same  as  /fio/to  can- 
tabile. 

Biril'lo  (It.)     Peg. 

Block  (verb).  A  hammer  in  the  piano- 
forte-action "  blocks  "  when  it  remains 
against  the  string  after  impact,  instead 
of  recoiling,  thus  "  blocking"  (deaden- 
ing) the  tone. 

Bluette  (Fr. ;  "spark,"  "flying  spark- 
let.") I.  A  light,  playful  comedietta. — 
2.  Hence,  a  light,  sparkling  piano- 
piece  of  no  fixed  form. 

Botto'ne  (da  cordie'ra)  (It.)  Button 
(on  the  violin). 

Bouts  [pi.].  The  incurvations  on  either 
side  of  instr.s  of  the  violin-type,  form- 
ing the  "  waist." 

^Bridge.  A  violin-bridge  with  4  feet  has 
been  inv.  (1894)  by  Edwin  Bonn,  of 
Brading,  Isle  of  Wight ;  one  foot  under 
each  string. 

Bris^,  le  (P>.)  In  violin-technic,  short, 
detached  strokes  of  the  bow. 

Budel'lo  (It.)    Gut.     (Also  minugia.) 

Bu'co  (It.;  pi.  bu'chi.)  Finger-hole  (of 
a  mus.  instr.). 

Biih'ne  (Ger.)  Stage.  ..Bu/i'nt'umusii'", 
{a)  dramatic  music  ;  (i)  music  played  on 
the  stage. 

Bun'te  Rei'he  (Ger.)  The  phrase  means, 
literally,  the  alternation,  in  a  company 
seated  at  table,  of  a  lady  with  a  gen- 
tleman ;  hence,  as  a  mus.  title,  a  series 
of  contrasted  cnaracteristic  pieces. 


c. 

C.  In  recent  Italian  music  "  I  C."  and 
"3  C."  are  abbreviations  of  "  una  cor- 
da  "  and  "  tre  corde"  respectively. 

Cade're  (It.)  To  fall.  —  Cadenza  (ca- 
dence) means  literally  a  "  falling  back  " 
to  the  tonic  from  the  dominant ;  Beet- 
hoven uses  the  word  jocularly,  in  the 
phrase  ''Cadenza  ma  senza  cadere" 
(heading  his  Cadenza  No.  i  to  the  ist 
movem.  of  the  G-major  Pfte. -Concerto), 
which  may  be  translated  :  "  Fall  back, 
but  don't  fall  down." 

Cahier  (Fr.)  Book. 

Camor'ra  (It.)  Paid  claqueurs  in  Italian 
theatres. 

Campagnuo'lo,-a  (It.)  Pastoral,  idyl- 
lie  ;  rustic. 

Campes'tre  (It.)  Pastoral,  rural,  idyllic  ; 
as  danza  canipestre. 

Cano'nico,-a  (It.)     In  canon-form. 

Canticchian'do  (It.;  Fr.  en  fredonnant.) 
Trilling,  warbling  ;  humming. 

*Canti'no  (It.)  E-sinng.  (In  mercan- 
tile Italian  the  strings  of  the  violin  are 
named  cantino^  seconda,  terza  and 
quarla^ 

*Canto,  written  in  a  score  over  the  blank 
part  for  any  instr.,  means  that  the  latter 
is  to  play  in  unison  with  the  vocal  (or 
melody-bearing)  part. — Written  over  an 
instr.l  part,  it  signifies  that  at  that  point 
the  vocal  melody  reenters  after  a 
ritoiirnelle  or  interlude. 

Capo-ban'da  (militare)  (It.)  Band- 
master. 

Capoco'mico,-a  (It.)    See  Striese. 

*Capo  d 'astro.  [An  English  corruption 
of  capotasto,~\  In  the  pianoforte,  the 
"capo  d'astro  bar"  is  a  transverse 
metallic  bar  placed  above  the  strings 
near  the  wrestplank.  Its  name  is 
derived  from  the  fact  that  it  bears  down 
on  the  strings  of  the  three  highest 
octaves  (more  or  less),  and  is  supposed 
to  add  to  the  brilliancy  and  carrying- 
power  of  their  tone.  It  is,  however, 
not  removable,  like  a  real  capotasto,  but 
fixed. 

Capo-mu'sica  (It.)  Conductor  ;  band- 
master. 

Capo-orches'tra  (It.)  Conductor  of  an 
orchestra. 

Capophone.  A  set  of  musical  glasses 
inv.  by  M.  F.  Coelho,  on  which  he 
produced  remarkable  eflects. 


234 


CARATTERISTICO— CORTO. 


Caratteris'tico,-a  (It.)  Characteristic. 
...Pezzo  caratteristico,  characteristic 
piece. 

Cas'sa  (It.)    Body  (of  violin,  etc.). 

*Catch.  (It.  cac'ce,  from  cac'cia,  a 
chase.)  The  term  occurs  as  early  as 
the  14th  century,  in  a  composition  by 
Fr.  Landino.  \Cf.  Amuros,  "  Ge- 
schichte  der  Musik,"  vol.  iii,  p.  470.] 

Causerie  (Fr.)     Chat,  conversation. 

Cavi'glia  (It.)     Peg. 

Cello'ne.  A  bow-instr.  intended  to 
replace  the  'cello  (in  conjunction  with 
the  Violot/a  [f/.  z^.])  in  the  string-quar- 
tet. In  dimensions  it  resembles  the 
'cello,  but  the  accordatura  is  a  fourth 
lower,  namely,  d-D-A-e.  Tone  like 
that  of  the  'cello  (though  stronger), 
being  far  more  prompt  in  speaking, 
flexible  and  mellow  than  that  of  the 
double-bass. 

Cer'to,-a  (It.)  Certain  ;  co7i  una  ccrta 
esprfssio}ie  parlantc  [Beethoven],  with 
a  certain  declamatory  expression. 

Ce'tra  ad  accor'di  (It.)     Autoharp. 

Champetre  (Fr.)     Same  as  Campestre. 

Charme,  avec  (Fr.)  With  charm,  grace- 
fully (It.  vezzosamente). 

Chin-rest.  "  An  oval  plate  of  ebony, 
slightly  hollowed  on  its  upper  surface 
to  receive  the  curve  of  the  jaw,  fastened 
to  the  edge  of  the  violin  to  the  left  of 
the  tailpiece,  and  extending  over,  but 
not  touching,  the  belly."     [Krehbiel.] 

Chitarra'ta  (It.)  Piano-piece  imitative 
of  the  guitar. 

Chord  of  Nature.  The  series  of  har- 
monics sounding  with  a  generator.  (See 
Acoustics^ 

Chord-bar.  One  of  the  bars  crossing 
the  strings  of  the  autoharp  ;  being 
pressed  down,  it  allows  only  the  strings 
of  one  special  chord  to  vibrate.  (Ger. 
Pedal.) 

Clavi-harpe  (Fr.)  A  harp  played  by  a 
pianoforte-keyboard  ;  inv.  by  Uietz  of 
Brussels  in  1887,  and  used  with  good 
effect  in  the  orch.  of  the  Monnaie 
Theatre  there  in  1888. 

s^Clef.  The  follow- 
ing is  a  form  of  Jenori  Imi 
tenor-clef  now 
(1896)  used  in 
Italy.  [From  the 
Milan    "  Gazzetta  . 

Musicale  ",     Dec.  T Cnori  2a' 
17,  1896.] 


Colori'to  (It.)     Same  as  Colorit. 

*Corpo  (It.)  Stroke ;  e.  g.,  colpo  di 
campducl'lo,  stroke  of  a  bell. 

*Co'me  pri'ma  (It.)  Standing  alone,  as 
a  tempo-mark,  it  means  that  the  pre- 
vious tempo  is  to  be  resumed  (after  a 
digression)  ;  also  written  tomando  come 
prima.  .  .Ritentito  come  pri?}ia,  held 
back  (retarded)  as  before. 

Co'me  re'tro  (It.)     As  before. 

Composed-through.  A  frequent  trans- 
lation of  the  German  term  dtirchkompo- 
tiiert  (see  Diirchko!)iponiere>i),  the  cor- 
rect English  equivalent  for  which  is 
"progressively  composed,"  as  con- 
trasted with  "  strophic  composition" 
(see  Song  2). 

Comprima'rio,-a  (It.)  In  theatrical  par- 
lance, a  part  (role)  of  importance, 
though  not  one  of  the  leading  parts 
(prime  assolute). 

Concentran'do  (It.)  "  Concentrating"; 
an  expression-mark  in  vocal  music, 
calling  for  a  dark,  veiled,  intense  effect 
of  tone. 

*Concerti'sta  (It.)     2.  Concert-giver. 

Confet'ti  (It.)     Sugarplums. 

Confinal.     Compare  Final. 

Conical  mouthpiece.      See  Cupped. 

*Contrab(b)as'so(It.)  Sub-bass  (organ- 
stop). 

Corde  fil^e  (Fr.)     Covered  string. 

Cordie'ra  (It.)     Tailpiece. 

Cordo'metro  (It.)    String-gauge. 

Cordonophon.  A  keyboard-instr.  imitat- 
ing the  tones  of  bells;  inv.  Paris,  1890. 
The  tone  is  produced  by  hammers  strik- 
ing on  a  graduated  2-octave  series  of 
hollow  bronze  cylinders. 

Cori'sta  (It.)  Chorus-singer. ..  C.  capo- 
fila,  a  chorus-leader  ;  especially  one  to 
whom  a  minor  solo  part  is  entrusted 
(see  Pertichino^. 

Cornement  (Fr.)  Running  (of  wind  ip 
an  organ). 

*Cornet  a  pistons.  Even  in  the  sym. 
phony-orchestra  the  cornet  is  not  infre- 
quently used  ;  but  its  employment  as  a 
substitute  for  the  valve-trumpet  is  to  be 
condemned,  these  instr.s  being  too  dis- 
similar in  tone. 

Cornet'ta  (It.)  Cornet  a  pistons. . .  Cor- 
net ti'7ui,  a  small  cornet. 

Cor'to,-a  (It.)    Short.     *'La  cadenza  sia 


COUL^— ESCLAMATO. 


^35 


carta  "  [Beethoven],  the  cadenza  should 

be  short. 
*CouI6  (Fr.)     3.  A  slur. 
Counting.     When   a  part    "rests"   for 

several    measures,    precision    of  reen- 

trance      is      facilitated     by     counting 


(e.  g.,  for 


3 


m) 


thus  :  123,  223,  323,  423,  523. 

Coupure  (Fr.)    A  "cut". 

Cravat'tentenor"  (Ger.)  A  tenor  who 
sings  as  if  his  necktie  were  too  tight. 

Cupped  mouthpiece.  The  shallower 
form  of  mouthpiece  for  brass  wind- 
instr.s  (Ger.  kes'sclforiniges  Muiid'- 
stuck),  in  contradistinction  to  ' '  conical 
mouthpiece,"  the  deeper  form  (Ger. 
trick' ter/drmiges  Mund' stuck). 

D. 

Decimaquin'ta  (It.)  i.  Interval  of  a 
fifteenth. — 2.  The  Fifteenth  (organ- 
stop). 

Declama'to,-a  (It.)  Declaimed  ;  in  de- 
clamatory style. 

Deliran'te  (It.)    Raving  ;  frenziedly. 

*Demi-jeu  (Fr.)  In  violin-technic,  the 
persistent  employment  of  short  strokes 
of  the  bow. 

Dichiarazio'ne  (It.)  Declaration  (title 
of  a  composition). 

Discenden'te  (It.)     Descending. 

Discretez'za,  con  (It.)  With  discretion  ; 
discreetly,  cautiously. 

Dispa'ri  (It.)  Unequal  (voices) ;  triple 
(times). 

Divagazio'ne  (It.)  A  ramble,  excursion  ; 
rambling,  strolling. 

Divette  (Fr. ;  diminutive  of  Jiva.)  Lead- 
ing lady  in  operetta. 

Divi'se.  This  (the  fetn.  pi.)  form  is 
properly  applied  to  instr.s  of  the  femi- 
nine gender  (in  Italian),  such  as  trotnba  ; 
also  to  vocal  parts  {voci  divise)  ;  it  may 
likewise  be  expressed  by  numerals,  e.  g. 


Dodinette,  Dodino,  Dodo  (Fr.)  Lul- 
laby, 

Do'rico  (It.)     Doric,  Dorian. 

Dugazon  (Fr. ;  CJer.  erste  Liebhaberitt.) 
French  designation  for  the  leading  so- 
prano in  comedy-opera,  operetta,  etc.  ; 


named  after  Louise-Rosalie  Dugazon,  a 

celebrated  singer  (1753-1821). 
Dum'ka  (Polish.)      A  sort  of  romance, 

vocal  or  instr.l,  of  a  melancholy  cast ; 

a  lament  or  elegy. 
*Du'o.     A  composition  in  2  •^■SiXX.?,  for  one 

instrument ;     e.    g.,    a    violin-duo,    in 

contradistinction    to  a    violin-duet   for 

two  violins. 
Duologie'  (Ger.)     Duology  (a  series  of 

two  stage-plays,  operas,  or  oratorios). 


^chancrures  (Fr.  pi.)    Bouts. 

Eck'satz  (Ger.)  "Corner  movement"; 
i.  e.,  the  opening  or  closing  movement 
in  a  cyclical  composition. 

Eclat  (Fr.)     Same  as  Brio. 

Eguaglian'za  (It.)  Smoothness,  even- 
ness ;  con  molta  eguaglianza,  very 
smoothly,  evenly. 

*Ein'lage  (Ger.)  E.xtra  number ;  inci- 
dental number.     (See  Arie  aggitcnte.) 

Elan  (Fr.)  Impetuosity,  vehemence... 
Avec  elan,  same  as  Con  slancio. 

£largissez  (Fr.)    Same  as  Allargate. 

Enchainez  (Fr.)  "Go  on  directly"; 
same  as  Attaccate. 

En  61argissant  (Fr.)  Same  as  allar- 
gando,  or  pin  larga?nente  (Ger.  breiter 
werdend). 

En  enlevant  (Fr.)  Raising,  lifting; 
detaching  (notes). 

Enigmatical  Canon.     See  Canon. 
Enim'ma  (It.;   pi.  eniimne.)     Enigma; 
hence,  enigmatical  canon. 

En  mesure  (Fr.)  "In  measure,"  i.  e., 
a  tempo,  or  a  battuta. 

Enr^gisseur  Rivoire.  A  phonauto- 
graph  for  attachment  to  a  pianoforte ; 
inv.  by  Rivoire  in  1895. 

Ensem'blestiick  (Ger.)  A  concerted 
piece  {¥t. piece  [or  morceau^  iV ensenible). 

Entusias'mo,  con  (It.)  With  enthusi- 
asm. 

Erin'nerungsmotiv"  (Ger.)  A  mus. 
motive  attached  to  and  recalling  a  past 
scene,  emotion,  personage,  etc. ;  in  so 
far,  a  Leitmotiv. 

Eroico'mico,-a  (It.)     Mock-heroic. 

Erzah'lung  (Ger.)  Story,  tale,  narra- 
tion. 

Esclama'to,-a  (It.)  Exclaimed;  decla- 
mato  con  fona. 


236 


ESEMPIO— FORTSCHREITUNG. 


Esem'pio  (It.)     Example. 

Espansio'ne,  con  (It.)  With  exalted  or 
intense  feeling. 

Espansi'vo  (It.)  Same  as  con  espati- 
sione. 

*Espressio'ne  (It.)     Expression-stop. 

Esquisse  (Fr.)     Sketch. 

Estre'mo,-a  (It.)  Extreme.  .  .Estrema- 
men' te,  extremely. 

Etichet'ta  (It.)  Maker's  "  label"  on  a 
violin. 

:iEtoffer(Fr.)   To  stuff,  fill  out ;  to  "pad." 

Exaltation,  avec  (Fr.)  Same  as  con 
esaltazione. 

Exhibition.  A  scholarship  at  an  Eng- 
lish university  or  music-school,  inde- 
pendent of  the  foundation ;  as  the 
Potter  Exhibition  at  the  Royal  Acad. 
of  Music,  London. 

*Expression-marks.  The  mark  p  sf 
over  an  arpeggio  signifies  "  heginp/ano 
with  a  swift  crescendo,  the  highest  note 
Sf." 

F. 

Fah'ne  (Ger.)    A  "  flag"  or  hook  ( |s). 

Fallboard.     Same  as  F/j'. 

*Fantasi'a,  con  (It.)  With  fancy ; 
spiritedly,  vividly. 

Fantasi'na  (It.)    Short  fantasia. 

Fantasticheri'a  (It.)  A  light,  fantastic 
composition. 

Fascia're  (It.)  To  cover,  to  wind 
(strings) . . .  Corde  fascia' tc,  covered 
strings. 

F6erie  (Fr.)     Fairy-opera,  fairy-play. 

Fervo're,  con  (It.)   With  fervor,  warmth. 

Feuille  (Fr.)  A  leaf  ;  fcuillcs  volanies, 
flying  leaves. 

Feuillet  (Fr.)  A  leaf,  leaflet.  ..FeuiUct 
d'alhutn,  album-leaf. 

Fia'ba  (It.)    Fable,  fairy-tale. 

*Fia'to  (It.)  Wind  ;  slrumen'to  a  Jiato 
(or  da  Jiato),  wind-instr. 

Fi'la  (It. ;  pi.  Jile.)  Rank  (of  organ- 
pipes)  ;  e.g.,  "  Pieno,  j  file  X  V, 
XIX,  XXII"  signifies  "  Mixture,  3 
ranks  (Fifteenth,  Nineteenth,  and  triple 
octave)". 

*Filer  un  son  (Fr.)  Also  means  to  sus- 
tain a  tone  7cilh  a  gradual  crescendo 
and  decrescetido. 

Fi'Io  di  voce  (It.)  The  very  softest  and 
lightest  vocal  tone. 


Fingered  octaves.  In  pfte.-technic, 
octaves  played  with  the  1-5  and  i-4 
fingers  alternately. 

*Fingering.  Alternative  fingerings  may 
be  written  thus : 

4    5 

T   3"  2 
1: 


or  thus 


4    3    2 

A   change  of   fingers,  temporarily   de- 
layed, may  be  indicated  thus  : 
5 4 

=5= 


=g 1-3 


!•  -m 

I  \r 


A  trill  on  the  pfte.  is  sometimes  fingered 
thus  :  f ,  or  f ,  or  |,  etc. 

Firing.  The  ringing  of  all  the  bells 
belonging  to  a  chime  at  once,  in  contra- 
distinction to  chiming. 

Fisarmo'nica  (It.)    Physharmonica. 

Fixing  the  voice.  Conscious  artistic 
control,  in  singing,  of  the  act  of  expira- 
tion. 

Flessibilita'  (It.)     Flexibility. 

Flies'send  (Ger.)  Flowing(ly),  smooth- 
(ly)  ;  scorrendo. 

Flute-stop.  Any  flue-stop  on  the  organ 
(except  stops  of  diapason-tone)  made 
of  metal  or  wood,  closed  or  open,  and 
of  any  pitch  from  i|-foot  (Terzflote) 
to  16-foot  (Flautone),  may  be  called  a 
"  flute  "  of  some  kind,  either  on  account 
of  its  tone,  or  after  the  builder's  taste 
or  fancy.  Descriptions  of  the  ordinary 
styles  will  be  found  under  their  respect- 
ive names.  (Also  see  Flute-work,  under 
Stop  2.) 

Flutet  (Fr.)     Same  as  Galoubet. 

Fo'glio  (It.;  pi.  foglt:)  A  leaf.  ...^. 
d' album,  album-leaf ..  ./^?'^//  volan'ti^ 
flying  leaves. 

Folatrerie  (Fr.)  Whim,  caprice,  bizarre 
fancy. 

For'te  genera'le  (It.)  The  full-organ 
combination  -  stop . . .  Forte  Vappoggia- 
turn,  accent  the  appoggiatura  strongly. 

*Fort'schreitung  einer  Dissonanz' 
(Ger.)     Is  not  necessarily  the  resolution 


FORTT^NOR— HOCHFORMAT. 


237 


of  the  dissonance,  as  one  dissonance 
may  progress  to  another  ;  A  uflosung 
is  the  exact  German  equivalent  of 
"resolution." 

Fortt6nor  (Fr.)    Dramatic  tenor. 

Fouett6  (Fr. ;  '*  whipped.")  See  Whip- 
ping bow. 

Frammen'to  (It.)    Fragment. 

Fra  se  (It.)    Aside. 

Frau'enchor  (Ger.)  i.  A  female  chorus. 
— 2.  A  composition  for  such  a  chorus. 
.  .Frau'enstimiiien,  women's  voices. 

Freddez'za,  con  (It.)  With  coldness; 
coolly,  indifferently. 

Fremen'te  (It.)     Furiously. 

Frettolo'so  (It.)  UnmQd. .  .Frettolosa- 
tnen'te,  hurriedly. 

Fri'gio  (It.)     Phrygian. 

Frog.  The  German  word  Frosch  means 
both  "frog"  (the  animal)  and  "nut" 
(of  a  violin-bow) ;  translators  of  Ger- 
man mus.  works  into  English,  often 
mistakenly  use  the  word  "frog"  in- 
stead of  the  proper  technical  term 
"  nut." 

Fuo'ri  di  s^  (It.)  Absently ;  dream- 
ingly,  as  if  dreaming. 

Furberi'a  del  can'to  (It.)  The  vocal 
effect  of  the  bocca  chiusa  (humming). 

Fiir  sich  (Ger.)    Aside. 

G. 

Garba'to  (It.)  With  simple  grace,  ele- 
gance. 

Gefeil'ter  Strich  (Ger.)  Detached  bow- 
ing (violin-technic). 

Gehaucht'  (Ger.)  Very  softly  and  lightly 
sung  or  played. 

Gemen'do  (It.)    Moaning. 

Gemes'sen  (Ger.)  Measured(ly),  moder- 
ateOy)  \  misurato. 

Gepei'tschte  Strich'art  (Ger.)  Whip- 
ping bow. 

Geris'sen  (Ger.)  Thrown  off  (in  pfte.- 
technic)  by  a  rapid,  deft  lift  of  the 
wrist ;  as  ein  gerissener  Akkord. 

Gesang'reich  (Ger.)  Very  singingly  ; 
caniando,  cantabile. 

Gezo'gen  (Ger.)  "Drawn  out";  larga- 
mente,  sostenuto. 

Gio'co,  con  (It.)    Playfully. 

Giovialita',  con  (It.)  With  joviality, 
jovially. 


du   g.. 


Gix'er  (Ger.)     Same  as  Kicks. 
Glottis.     See  Vocal  glottis. 
Gosier   (Fr.)      Throat ... /jMw^ 

isthmus  of  the  throat. 
*Graces.     In  "La  Poule  "  (a  piece  for 

harpsichord,  by  Rameau),  the  following 

grace  occurs  ■ 

"Written 


Played  1 


^^^^m 


In  the  "  Rappel  des  oiseaux :  " 
Written:     >""    -     -  ^'- 


Played : 


The  former  is  d'Alembert's  Chute  et 
Finc^,  or  J.  S.  Bach's  Accent  und  Mor- 
dant (Bach  gives  a  different  sign) ;  the 
latter  is  Fr.  Couperin's  Finc^  simple, 
but  with  a  different  sign. 

Gradatamen'te  (It.)  By  degrees,  grad- 
ually. 

Grandetnent  (Fr.)  With  grandeur  ;  with 
breadth,  dignity  and  force.  (It.  con 
grandezza.) 

Grand'or'gano  (It.)     Great  organ. 

Gravita',  con  (It.)  With  gravity,  dig- 
nity  ;  ponderously. 

*Gruppet'to  ascenden'te  (It.)  Back 
turn ...G.  dlscenden'te,  ordinary  turn. 

H. 

Habane'ra  (Sp.)  A  species  of  contra- 
dance  comprising  two  8-measure  peri- 
ods in  6-S  time.  It  is  a  typical  Cuban 
dance;  hence  called  the  "  contradanza 
criolla  "  (Creole  contradance). 

Hack'e  (Ger.)  Heel.  (Abbreviated,  in 
organ-technic,  H.) 

Harmony,  false.  i.  The  inharmonic 
relation. — 2.  Discord  produced  by  im- 
perfect preparation  or  resolution. — 3. 
Discord  produced  by  wrong  notes  or 
chords. 

Havanaise  (Fr.)     A  Habanera. 

Hin'ter  der  Sze'ne  (or  Sce'ne)  (Ger.) 
Behind  the  scenes. 

Hoch'format  (Ger.)  The  ordinary  shape 
of  music-paper,  higher  than  it  is  broad 
(See  Querformat.) 


238 


HOLDING— LONTANISSIMO. 


Holding.     The  burden  of  a  song.     (Ob- 
solete.) 
Huitifeme  de  soupir  (Fr.)     A  32nd-rest. 


I. 


II  pill  (It.)     The  most. 

Im  (Ger.;  contraction  of /«  (/<;«.)  In  the. 
. .  .Im  Tempo,  in  the  (regular)  tempo  ;  a 
tempo. 

Inci'S0,-a  (It.)  Incisive,  sharp  ;  sharply 
emphasized  ;  inci'se  \le  noU],  [the  notes] 
sharply  marked. 

Ingenuamen'te  (It.)  Ingenuously,  nat- 
urally. 

Ingranag'gio  (It.)  Gear,  gearing  ;  ma- 
chine-head. 

Insceni'rung,  Inszenie'rung(Ger.)  See 
Jl/ise  en  scene. 

Intar'sio,  Intar'zio  (It.)     Purfling. 

Interligne  (Fr.)  Space  (between  lines  of 
staff). 

Intermez'zi  sinfo'nici  (It.)  Incidental 
music  (interludes)  for  orchestra. 

Ipo-  (It.)  Hypo- ;  e.g.,  ipofri'gio,  Hy- 
pophrygian  ;  ipoli'dico,  Hypolydian. 

Islan'cio  (It.)     See  Slancio. 
Isthme  (Fr.)     Isthmus. 
Istrunientato're(It.)   Instrumenter ;  or- 
chestrater  ;  composer  for  orchestra. 


J. 

Jingling  Johnny.  Formerly  a  popular 
name,  in  London,  for  the  Turkish  cres- 
cent. 

Jonction  (Fr.)  Blending  (of  the  vocal 
registers) ;  also  F union  des  registres. 

Juste  (Fr.)     Perfect  (said  of  intervals). 


K. 

Kan'tor  (Ger.)  Cantor;  the  director  and 
trainer  of  a  choir  or  chorus  in  a  church 
or  school. 

Ker'nig  (Ger.)  With  firmness,  decision  ; 
con  fermez'za,  deciso. 

Kes'selfbrmiges  Mund'stiick  (Ger.) 
Cupped  mouthpiece. 

Klavier'abend  (Ger.)  Piano-recital  in 
the  evening.     Also  Clavierabcnd. 


Klavier'harfe  (Ger.)  Same  as  K'la->/u 
atttr'  harfe. 

Kna'benchor  (Ger.)  Boy-chorus,  boy- 
choir ;  also,  a  composition  for  such  a 
chorus  or  choir. .  .Kna' benstimmen, 
boys'  voices. 

Kokett'  (Ger.)    Coquettish(ly). 

L. 

Lamen'to  (It.)     Lamentation,  dirge,  el- 

egy. 

Lam'penfieber  (Ger.)    Stage-fright. 

Languo're,  con  (It.)  With  languor,  lan- 
guidly. 

Larghez'za,  con  (It.)  Same  as  Largo, 
mente. 

Leer  (Ger.)  i.  Empty,  hollow  (of  a  tone). 
— 2.  Open  (of  a  string). 

Legan'do  (It;  "binding.")  i.  Equiva- 
lent to  Legato. — 2.  An  expression-mark, 
in  vocal  or  instr.I  music,  calling  for  the 
smooth  execution  of  two  or  more  con- 
secutive tones  by  a  single  "  stroke  of 
the  glottis  "  (vocal),  in  one  bow  (violin, 
etc.),  by  a  single  stroke  of  the  tongue 
(wind-instr.s),  or  legatissimo  (on  organ 
or  pfte.). 

Lega'te  (It.;  pi.  form  of  hga'ta,  the 
words  "le  note"  being  implied.)  Slurred  ; 
played  (or  sung)  evenly  and  smoothly. 

*Legatu'ra  (It.)    2.  A  slur. 

Leggen'da  (It.)    Legend. 

Leggeris'sime  (It.;  pi.  of  Icggerissima, 
"  le  note"  being  implied.)  [Play  or 
sing  the  notes]  very  lightly. 

Leg'gio  (It.)     Music-stand. 

Le'gni  (It.;  pi.  oi/e'gno,  wood.)  Wood- 
wind. 

Les  £f  (Fr.)     The  /-holes. 

Lice'o  (It.)     Lyceum  ;  Conservatory. 

Lie'derabend  (Ger.;  "song-evening.") 
A  song-recital  (by  one  singer). 

Lie'derdichter  (Ger.)  A  writer  of  songs 
(poems)  to  be  set  to  music. 

Lie'derspiel  (Ger.)  i.  Ballad -opera, 
vaudeville. — 2.  A  concert-piece  for  vo- 
cal soli,  chorus,  and  pfte. -accompani- 
ment, with  dramatic  and  local  color; 
invented  by  Schumann  in  his  "  Spa- 
nisches  Liederspiel,"  op.  74. 

Liuta'io  (It.)     Same  as  Luthier. 

Liuti'sta  (It.)     Lute-player. 

Lontanis'simo  (It.)  Very  far  away; 
equivalent  to  piano  possibile. 


LUNGA   E    DIMINUENDO— NINNERELLA. 


239 


Lun'ga  e  diminuen'do  [morendo]  (It.) 
Long  sustained  and  diminishing  in  force. 
(Here  "  nota  "  is  implied.) 

M. 

Macchinet'ta  (It.)     Machine-head. 

Madrile'aa  (Sp.)     A  dance  of  Madrid. 

*Mandolina'ta  (It.)  2.  Title  for  a  man- 
dolin-piece of  a  quiet  character,  such 
as  a  serenade  or  nocturne. 

Mandoloncel'lo,  Mandolo'ne  (It.) 
Large  styles  of  the  mandolin. — "  Man- 
dolina,  Mandola,  Mandoloncello  and 
Mandolone  do  not  differ  one  from  the 
other  in  form,  but  only  in  size."     [G.\z- 

ZETTA  MUSICALE.] 

Manua'liter  (Lat.)  On  the  manual(s) 
alone  (organ-music). 

Marca'te  (It.;  pi.  of  marca'ta!)  A  direc- 
tion signifying:  "The  notes  are  to  be 
marked";  the  words  'We  note"  being 
implied. 

Mar''kig(Ger.)  "  Marrowy  "  ;  with  strong 
emphasis ;  sturdy,  strong,  vigorous. 
(Also  adverb.) 

Mediation.     See  Chant  3. 

Melo'logo  (It.;  pi.  melo'loghi.)  Melo- 
drama ;  a  spoken  dramatic  scene  accom- 
panied or  illustrated  by  music. 

Mes'sa  da  re'quiera  (It.)    Requiem  mass. 

Mes'sa  in  sce'na  (It.)  Same  as  Mise  en 
scene. 

*Mesur6  (Fr.)  Equivalent  to  moderato  ; 
e.g.,  A  Negro  mestirL 

Metro'mano-piano  (It.)  A  finger-exer- 
ciser for  pianists,  inv.  by  Luigi  Pizza- 
miglio  in  1897,  and  commended  by  a 
special  committee  of  the  Milan  Conser- 
vatorio.  It  has  a  short  keyboard,  and 
various  springs  and  other  accessories. 

*Me2'zo(It.;  adjective^)  Occurring  alone, 
it  refers  to  the  dynamic  sign  next  pre- 
ceding (either/  or  J>). .  .Mezzo  respiro, 
half-breath  (i.e.,  a  [rapid]  partial  inspi- 
ration). 

Mez'zo  (It. ;  nowi)  Middle  ;  nel  mezzo 
del  arco,  in  the  middle  of  the  bow. 

Milieu  (Fr.)    Middle. 

Minu'gia  (It.)    Gut.     {Also  Bude Ho.) 

Mise  en  sc^ne  (Fr.;  It.  missa  in  scena  y 
Ger.  Inszenieritng.)  Setting  of  a  play 
on  the  stage  ;  stage-setting,  mounting. 
Moderatamen'te  (It.)  With  moderation 
(either  of  tempo  or  emotion) ;  also  con 
moderazione. 


Morto  sot'tovoce  (It.)  Very  softly  in- 
deed. 

Mon'do  picci'no  (It.)  "  Little  Folks," 
"Little  People";  title  equiv.  to  the 
German  "  Kinderszenen,"  "  Kinder- 
stucke." 

Montatu'ra  (di  corde)  (It.)  Set  of 
strings. 

Mor'bido  (It.)  Soft,  tender  ;  morbidis- 
simo,  very  soft. .  .  Con  morbidezza,  with 
tenderness,  softly. 

*Morden'te.  G.  Nava,  in  his  "Ele- 
ments of  Vocalization,"  calls  an  un- 
accented   double -appoggiatura    (e.g., 


a  niordente. 

*Mos'so  (It.)  Occurring  alone  as  a 
tempo-mark,  Mosso  is  equiv.  to  Con 
moto.  [Verdi:  "Aida,"  pf. -score,  p. 
285.] 

Mu'sica  fic'ta  (Lat.;  "feigned  music") 
Mediaeval  name  for  scales  transposed  by 
the  use  of  the  B  or  j?  ;  such  scales  being 
considered  irregular  ("  feigned  ")  in  con- 
trast with  the  regular  ones. 

Musical  Dictation.  See  Dict^e  musi- 
cale. 

Mu'sico  (It.)  An  artificial  male  soprano  5 
a  castrato  or  evirato. 

Musique  de  scfene  (Fr.)  Incidental 
music. 

Musurgia  (Gk.)  The  art  of  correctly 
employing  the  musical  consonances  and 
dissonances. 

N. 

Nach'gebend,  Nach'giebig  (Ger.) 
Yielding(ly),  slower  and  slower,  rallen- 
tando. .  .Nach'giebiger,  more  yielding- 
ly,/?'// sostenuto. 

Na'ker.  Ancient  name  of  the  kettle- 
drum. 

Naset'to  (It.)  Point  (of  bow).  Also 
punta. 

Naufra'gio  (It. ;  "shipwreck.")  Modem 
equivalent  of  Fiasco. 

Negligen''za,  con  (It.)  With  negligence, 
carelessly. 

Ni'colo.  An  ancient  style  of  bombard, 
the  alto  of  the  oboe. 

Nien'te  (It.)  Nothing.  (The  phrase 
quasi  niente  signifies  "inaudible,  as  it 
were,"  i.e.,  barely  audible.) 

Nin'na-nan'naKj   J     LuHaby. 

Ninnerel'la       \^    ' 


240 


NOTATION— PEL. 


*Notation.  In  the  following  example 
[Rubinstein,  op.  3,  No.  4J  for  pfte.,  the 
two  notes  with  convergent  stems,  ^i^\) 
and^t],  are  to  be  played  simultaneously  : 

3       ^ 
12     1 


Notturni'no  (It.,  dimin.  of  Noliurno.) 
A  short  nocturne. 

'^Numerals.  The  Roman  numerals  I., 
II.,  III.,  IV.,  in  violin-playing,  indicate 
the  string  to  be  played  on,  the  E-string 
being  I. — I*,  2",  3",  and  4*  {{or prima, 
seconda,  terza  and  quarta  corda,  re- 
spectively), are  also  written. — A  single 
8  under  a  bass  note  signifies  that  the 
note  should  be  doubled  in  the  lower 
octave. —  /  C.  and  j"  C.,  in  modern  Italian 
piano-music,  stand  for  Una  corda  and 
Tre  fc;-;/^  respectively. — Also  cf.  Divise 
and  Fingering,  in  Appendix. 

Nymphale  (Fr.)  A  French  portable 
organ  of  the  i6th  century. 

o. 

*Oboe  (compass).  I.  The  usual  orches- 
tral compass  is  only  to  /^ . . .  Oboe  da 
cac'cia  (It.),  the  tenoroou  oboe  (corno 
inglese) .  . .  t'/wt'  liinga,  same  as  oboe 
d'amore. — 2.  In  the  organ,  an  8-foot 
reed-stop,  with  conical  pipes  surmounted 
by  a  bell  and  cap . .  .  Orchestral  oboe,  a 
stop  accurately  imitating  the  orch.l 
instr. 

Obo'er  (Ger.)     Oboist. 

Officle'ide  (It.)  Alternative  spelling  of 
Oficleide. 

*0p6rette  [with  /]  is  the  correct  spelling 
of  the  French  word. 

Operi'sta  (It.)    Opera-composer. 

Order.  The  arrangement  of  chord-tones 
above  a  given  bass,  "open"  and 
"  close  order"  being  equiv.  to  "  open  " 
and  "  close  harmony  ". 

Orecchian'te  (It.)  One  judging  of 
music  "  by  ear  "  ;  one  lacking  theoretical 
and  practical  training  in  the  art. 

Orfeo'nico  (It.)  Pertaining  to  the 
Orpheons. 

*Organet'to  a  manu'brio  (It.)      Hand- 
organ.     (.Mso  O.  di  Barbaria.) 
Organ-metal.     Same  as  Pipe-metal. 
Or'gano  espressi'vo  (It.)     Swell-organ. 
Otto'ni  (It. ;  pi.  of  otto'ne,  brass.)    Brass- 
wind. 


ppppj).  Young  Italy  occasionally  in- 
dulges in  five  2>'s  to  indicate  a  barely 
audible  musical  murmur. 

Pa'gina  d'album  (It.)    Album-leaf. 

Parabrac'cio  (It.)     Arm-rest. 

Parallel  intervals  are  formed  by  the 
progression  of  two  parts  in  the  same 
direction  and  at  exactly  the  same  inter- 
val. 

Pa'ri  (It.)  Equal  (of  voices ;  "  voci 
pari");  duple  (of  times  ;  "  tempi  pari"). 

*Parlan'te(It. ;  "speaking.")  In  pfte.- 
technic,  this  direction  calls  for  a  clear, 
crisp  non  legato. 

Parla'to  (It.)    Spoken. 

Parolier  (Fr.)     Same  as  Liederdichter. 

Partie  (Fr.)  "Pa-rt. .  .Parties  s/par/es, 
separate  parts. .  .Partition  et  parties, 
score  and  parts. 

Partitionnette  (Fr.)  A  little  (or  slight) 
score. 

Pas'so  (It.)  X.  Step  ;  e.  g.,  Valzer  a 
due  passi. — 2.  Measure  ;  time  ;  passo 
ordina'rio,  common  time  ;  passo  doppio 
composto,  compound  duple  time. 

Pau'ken  (Ger.)  To  thump  ;  thumping, 
pounding,  banging  (rough  piano-play- 
ing)- 

Pau'ra  (It.)  Fear,  dismiLy. .  .Pauro' so, 
fearful,  timid. 

Pedal'  dopYelt  (Ger.)  "  The  pedal-part 
in  octaves  '  (organ-technic  ;  It.  pedale 
doppio).  .  .Pedal  ein'fach,  a  direction 
following  t!ie  foregoing,  and  signifying 
that  the  pedal-part  is  no  longer  to  be 
doubled .  . .  Pedal' koppel,  pedal-coupler. 

Peda'le  o'gni  battu'ta  (It.)  "Take 
pedal  with  each  measure." 

Pedalet'to  (It.)  A  mechanical  stop  on 
the  organ  ;  e.  g.,  /.  di  accoppiamen'to, 
coupler  ;  /.  di  combin^zio'ne,  combina- 
tion-stop. 

Pedali'no  (It.)     Same  as  Pedaletto. 

Pedal-sign.     A  sign  for  the  loud  pedal, 
(«)  (h-) 

written  |  -— _i,  has  been  introduced 

by  Arthur  Foote  of  Boston  ;  a  showing 
the  precise  point  at  which  the  pedal 
should  be  depressed,  and  b  where  it 
should  be  raised. 

Pei'tschend  (Ger.)    See  Whipping  bow. 

Pel  (It.)  Contraction  of  per  il,  "for 
the"  ;  e.  g.,  pel  mandolino,  for  the 
mandolin. 


PENNA— PROGRESSIVE   COMPOSITION. 


241 


Pen'na  (It.)    Pick,  plectrum. 

Pensie'ro  (It.)  Thousrht  . . .  Pensiero 
del{la)  — ,  Souvenir  of  — ,  Recollections 
of—. 

Penso'so  (It.)     Pensive,  thoughtful. 

Perce  (Fr.)     Bore  (of  wood-wind  instr.s). 

Per  interval'li  giu'sti  (It.)  By  exact 
intervals  (in  a  canon  ;  i.  e.,  the  iheme 
is  repeated  inter\'al  for  interval,  strictly). 

Pertichi'no  (It.)  The  singer  of  an  ex- 
tremely subordinate  operatic  part ;  a 
part  often  taken  by  the  chorus-leader. — 
In  German  such  a  singer  has  been 
jocularly  termed  a  So'locho/'sdnger, 
"  solo  chorus-singer  ".     (See  Corisla.) 

Petac'cha  (It.)     Plectrum. 

Pezzet'to  (It.)     Little  piece. 

Pez'zi  stacca'ti  (It.)    Airs  d/lack^s. 

Phras6  (Fr.;  noun.)     Phrasing. 

PianoTa,  A  mechanical  piano-player, 
invented  by  E.  S.  Votey  of  New  York, 
in  the  year  1897.  It  is  furnished  with 
4  stops.  Piano,  Forte,  Tempo  and 
Accent,  by  whose  skilful  manipulation 
the  most  artistic  effects  may  be  pro- 
duced at  will.  The  motive-power  is 
supplied  by  two  pedals  (treadles)  worked 
by  the  feet ;  these  pedals  actuate  {a)  a 
revolving  music-roll  of  perforated  paper, 
whose  perforations  control  the  time- 
value  of  the  notes ;  and  (/')  the  pneu- 
matic action,  consisting  of  65  felt- 
covered  levers,  or  automatic  fingers, 
which  command  a  compass  of  five 
octaves  and  four  semitones  (from  A\  to 
^),  and  act  with  all  the  delicacy  and 
precision  of  a  trained  pianist's  digits, 
besides  being  able  to  play  any  4-hand 
pieces.  The  apparatus  is  not  attached 
to  the  pianoforte,  but  set  in  front  of  it 
in  such  a  position  that  the  65  automatic 
fingers  engage  the  proper  keys. — The 
repertory,  comprising  at  present  (igoo) 
about  20,000  numbers,  embraces  all 
grades  of  popular,  romantic,  and  classic 
pianoforte  -  music  and  arrangements. 
\Cf.  .^olian.) 

Pib-corn  (Welsh.)     A  hornpipe. 

Piffera'ta  (It.)  Air  for  the  fife,  or  in 
imitation  (as  on  the  pfte.). 

Placidez'za,  con  (It.)  With  placidity  ; 
tranquilly,  calmly. 

Plain-beat.  An  obsolete  English  harp- 
sichord-grace ; 

Written:  Played: 


^ 


Plein  (Fr.)  Full  ;  h  plein  son,  with  full 
tone  {sonoramenic). 

Pleftro  (It.)     Plectrum,  pick. 

Pluperfect.     Augmented  (of  intervals). 

Po'co  me'no  (It.)  When  this  phrase 
occurs  alone  as  a  tempo-mark,  mosso  is 
implied  ;  i.  q.,  poco  meno  mosso,  a  little 
less  fast  [slower]. .  .Poco  piii,  standing 
alone,  also  implies  viosso  ("a  little 
faster ")... /"(V^  piu  lento  delta  /»"» 
volta,  somewhat  slower  than  the  first 
time. 

Poemet'to  (It.;  "little  poem.")  A 
slight  musico-dramatic  work. 

Pointing.     See  Chant  3. 

Pol'ca  (It.)     Polka. 

Polchet'ta  (Polketta?)  (It.)  Little 
polka. 

Polifo'nico,-a  (It.)     Polyphonic. 

Pol'nisch  (Ger.;  "Polish.")  Polacca(a3 
the  title  of  a  piece). 

Polone'se  (It.)     Polonaise.     {^Polacca.) 

Pom'pa,  con  (It.)  With  pomp,  pom- 
pously,  loftily. 

Porta-mu'sica  (It.)  Music-roll,  port- 
folio. 

Porta'te  la  vo'ce  (It.)  "  Carry  the 
voice";  a  direction  to  more  than  one 
singer  to  sing  portamento. 

Post-horn.  A  horn  without  valves  or 
keys,  capable  of  producing  the  natural 
harmonics  of  its  fundamental  tone ; 
used  on  post-coaches. 

Premier  dessus  (Fr.)     Soprano. 

Pressan'do  (It.)     Same  as  Pressante. 

Prestissimamen'te  (It.)  With  extreme 
rapidity  (equiv.  to  Prestissimo). 

Pre'sto  parlan'te  (It.)  "  Speaking  rap- 
idly (volubly)";  a  direction  in  recita- 
tives, etc. 

Principali'no  (It. ;  "  small  diapason.") 
An  8-foot  stop  on  the  swell-organ. 

Prinzipal'stimme  (Ger.)  Leading  part ; 
solo  part. 

Profa''no,-a  (It.)  Secular ;  as  oratorio 
profano,  musica  profana. 

Programmist.  i.  A  musician  who  writes 
music  to  fit  a  "  program  " ,  which  latter 
may  be  either  expressed  or  implied. — 2. 
A  theorist  or  critic  who  favors  compos- 
ing according  to  program. 

Progressive  composition  of  a  song  is 
the  English  equivalent  for  Durchkom- 
ponieren  {q.  z/.). 


242 


PROLONGEMENT— ROLATA. 


Prolongement   (Fr.)     Sustaining-pedal. 
Pronunzia'to,-a  (It.)     Pronounced,  em- 
phasized. 

Protagoni'sta  (It.),  Protagoniste  (Fr.) 
Singer  of  the  leading  role  in  an  opera. 

*Pro'va  (It.)  Rehearsal. .  .P.  in  costu'- 
me,  dress-rehearsal. .  .P.  genera' le,  full 
rehearsal. 

Pult  (Ger.)  'D^%\i...Erstes  (/.)  Pult, 
and  Zweites  {II.)  Pult,  in  a  score,  in- 
dicate, respectively,  Division  i  and  2  of 
a  group  of  orch.l  instr.s  playing  a'/wVz. 

Pult'virtuos  (Ger. ;  Fr.  virtuose  de  pu- 
pitre.)  A  "  virtuoso  of  the  desk  "  (i.  e. , 
conductor's  desk) ;  a  conductor  of 
celebrity,  like  Hans  Richter,  von  Bulow, 
Weingartner,  etal.,  who  either  travels 
with  his  own  orchestra,  or  conducts 
different  orchestras  at  various  places. 

Pun'to  corona'to  (It.)    Hold  {^. 

Q. 

Qua'dro  (It.)     Picture,  tableau. 

Quer'format  (Ger.)  Oblong  (shape  of 
music-paper,  broader  than  long). 

Quitter  (Fr.)  To  quit,  leave  ;  sans  quit- 
ter la  corde,  without  quitting  the  string. 

R. 

Raccoglimen'to  (It.)    Collectedness  of 

mind,  composure. 

Raccol'ta  (It.)    Collection. 

Raccon'to  (It.)     Tale,  story. 

Rallenta'te  (It.,  imperative.)     Go  slower. 

Recessional.  A  hymn  sung  in  church 
during  the  departure  of  the  choir  and 
clergy  after  a  service. 

Redite  (Fr.)     Repetition. 

Reduce  (It.  ridur're.)  Same  as  J?/dui re. 
. .  Reduction  (Ger.  Reduktion' ;  Fr.  r/- 
dttction  ;  It.  riduzio'ne),  a  reduced  com- 
position (see  R/duire). 

Reif'tanz  (Ger.)     Same  as  Schdfflertanz. 

Reminiscen'ze  (It.  pi.)    Recollections. 

R6soluraent  (Fr.)  Same  as  Risoluta- 
mente. 

Restez  (Fr. ;  "  stay  there  !  ")  In  music 
for  bow-instr.s  this  direction  means  : 
(i)  "  Play  on  the  same  string",  or  (2) 
"  Remain  in  the  same  position  (shift)". 

•Rests.  A  pause  of 
sereral  measures  is 
often  written  thus  : 


EIE 


Retenu  (Fr.)     Same  as  Ritenuto. 
Retrosce'na  (It.)    Behind  the  scenes. 

Revue  (Fr.)  A  review  in  musico-dra- 
matic  form,  and  generally  humorous,  of 
the  striking  events  in  a  season  or  year 
just  closing. 

*Ribattu'to,-a  (It.)    Restruck,  repeated  ; 

tiote  ribattute,  repeated  notes. 
Ric'cio  (It.)    Scroll. 

Ricochet  (Fr.)  In  violin-technic,  a  var- 
iety of  staccato  differing  from  the  sau- 
tilU  {saltato)  in  not  employing  the  wrist 
(in  the  saltato,  up-stroke,  a  separate 
wrist-movement  is  made  for  each  de- 
tached tone). 

Rifiormen'to  (It.)  Same  as  Adoma- 
mento, 

Rimembran'za  (It.  ;  pi.  rimembran'ze.) 
Recollection,  souvenir,  memory. 

Ripieni'no  (It.)    A  4-foot  stop  on  the 

swell -organ. 
*Ripie'no    (It.)    A  combination-stop  in 

the  organ  drawing  all  registers  of  any 

given  manual. 
Ripi'glio  (It.)     Repetition,  reprise. 

Ripo'so  (It.)  Kt^osG. .  .Riposa' to,  re- 
poseful, restiul. .  .Riposatamen'te,  re* 
posefully. 

Ripren'dere  (It.)  To  resume  ;  stringendo 
per  riprendere  il  I"  tempo,  hastening, 
in  order  to  regain  the  former  tempo. 

Risolutezza,  con  (It.)  With  resolution, 
decision. 

Rispet'to  (It.)    Love-ditty. 

Rit.  is  given  on  p.  2  as  an  abbreviation 
of  Ritenuto,  and  is  often  so  used,  though 
more  frequently  for  Ritardando. — In 
view  of  the  difference  in  meaning 
between  Ritenuto  and  Ritardando,  it  is 
advisable  always  to  write  Ritenuto  out 
in  full,  when  that  nuance  is  desired. 

Ritardan'za  (It.)     Retardation. 

Ritardazio'ne  (It.)  Retardation,  drag- 
ging. 

Rit'mico  (It.)  Rhythmical ...  i??V'w?Vc?, 
written  after  a  recitative,  is  also  equiva- 
lent to  "  a  tempo  "  or  misurato. 

Rit'ter-Bra'tsche  (Ger.)  A  large  style 
of  viola,  the  Viola  alta,  inv.  by 
Hermann  Ritter  of  Wurzburg  ;  a  per- 
former on  it  is  sometimes  called  a 
"  Ritter-Bratschist'." 

Rivi'sta  (It.)     Same  as  Revue. 
Rola'ta  (It.)    A  roulade. 


ROMANZA   SENZA    PAROLE— SIGNS. 


243 


Roman'za  sen'za  paro'le  (It.)    Song 

without  words. 
Romanze'ro  (It.)     A  suite  or  cycle  of 

romantic  pieces  for  pfte. 


Sag^gio  (It.)  Examination. .  (Concerto 
di  saggio,  pupils'  concert  given  for 
practice  in  ensemble,  or  quasi  public, 
performance  ;  equivalent  to  the  German 
Ubuyigsabend or  Abendunterhaltuug). 

*Sampo'gna  (It.)  A  variety  of  the  Italian 
bagpipe,  having  (in  a  specimen  examined 
in  the  United  States)  2  drones,  and  2 
melody-pipes  fingered  by  the  right  and 
left  hands  respectively  ;  on  it  was  played 
the  accompaniment  to  a  shrill  reed-pipe 
which  the  performers  called  a  corna- 
musa.  The  bag  is  inflated  by  the  breath 
and  squeezed  by  the  right  arm. 

Sans  (Fr.)     Without. 

Sauting  (Fr.)     Saltato. 

Sauvement  (Fr.)  Resolution  (of  a  dis- 
sonance). 

Saxofo'nia  (It.)     Saxophone. 

*Scale.  4  (of  a  piano).  Compass  ;  i.e., 
the  range  of  tones  represented  by  the 
keyboard. 

Schafflertanz  (Ger.)  Festival  procession 
and  dance,  probably  of  great  antiquity, 
of  the  Coopers'  Guild  at  Munich  ;  held 
everj'  7  years. 

Schie'ber  (Ger.)    Same  as  Schub. 

Schiettez'za,  con  (It.)  Simply  ;  neatly, 
deftly. 

Schla'ger  (Ger.)  A  "hit";  brilliantly 
successful  piece  or  play. 

Schmach'tend  (Ger.)  Languishing(ly), 
longing(ly). 

Scintil'la  (It.;  pi.  scintil'le)     A  spark. 

Scivolan'do  (It.)  Same  as  Glissando,  in 
pfte.-technic. 

Scoop.  Vocal  tones  are  said  to  be 
"scooped"  when  taken,  instead  of  by 
firm  and  just  attack,  by  a  rough  por- 
tamento from  a  lower  tone. 

Secondaa'do  (It.)  Supporting,  follow- 
ing ;  secondando  la  voce  (or  il  emtio), 
yieldingly  following  the  principal  part 
(with  the  accompaniment). 

Second  dessus  (Fr.)     Mezzo-soprano. 

Semitririo  (It.)     Inverted  mordent. 

Sentimenta'Ie  (It.)    Feelingly. 

Sen'za  misu'ra  (It.)    "Without  meas- 


ure ;  i.e.,  not  in  strict  time;  equiva- 
lent  to  the  tempo-mark  a  piacere,  and 
opposed  to  viisuraio . . .  Senza  suono, 
"  without  tone  "  ;  i.e.,  spoken. 
Sept'akkord  (Ger.)  Seventh-chord.  (Also 
Sep'  timenakkord.) 

Serenatel'la  (It.)    Little  serenade. 

Serenita',  con  (It.)  With  serenity,  se- 
renely, tranquilly. 

Serieta',  con  (It.)     Seriously. 

Settimi'no  (It.)  A  piece  for  7  perform- 
ers. 

Severita',  con ;  Seve'ro  (It.)  In  a  se- 
vere (stern,  austere)  manner. 

Sfuma'to  (It.;  pi.  sfuma'te  \le  note  im- 
plied].) Very  lightly,  like  a  vanishing 
smoke-wreath.. .  Sfiimatti'ra,  "  Smoke- 
wreath  "  (title  of  a  light,  airy  composi- 
tion).       ..        ..^ 

*Signs.  ^  3  Instead  of  the  mis- 
leading short  slur,  with  figure,  for  doub- 
lets, triplets,  etc.,  modem  French  music 
sometimes  has  a  dotted  slur  (as  shown 
above),  which  is  an  improvement. 


another  sign  for . 
the   triplet    (  = 


This  sign,  at  the  end  of  a  staff, 
shows  that  the  measure  is  unfin- 
ished, so  that  no  bar  is  required, 
.(bis)  The   re- 


ten  at  a  single  bar. 


ryj- —  peat-s  1  gn 
is  s  o  m  e  - 
times  writ- 


Thesign  (  is  used 

like  r 


to    connect 


notes  to  be  played 
by  one  hand. 

//—//—        This    sign 

^    is   used  :    (i) 

As  a  breath- 
ing-mark ;    (2)   to   mark    a   very    brief 
pause,    together   with    the   interruption 
caused  by  taking  breath. 
'^  Another  sign  for  the  Back  Turn. 


'  ' Sig- 

nines  mezzo  staccato 
e  pesante  (marcatd)  ; 
e.g.: 


844 


SILENZIO— SVIZZERA. 


n  A    In  organ-pieces,  signs  for  pedal- 
ling are  sometimes  written  thus  : 
For  right  foot,  heel   H   ,  toe  A 
"    left        "       "      U        "V 

y|«  In  piano-playing  a  note  to  be 
"  taken  by  the  right  hand  is  some- 
times marked  thus  :  J  ;  for  the  left 
hand:    |p. 

(Also  c/.y  in  Appendix,  the  articles  Notation, 
Numerals^  Time  and  Turn.) 

*SiIen'zio  (It.)  2.  A  pause,  silence  ;  as 
lutigo  siUnzio. 

Simplement  (Fr.)  Simply,  semplice ; 
tres  simplement,    semplicissimamente. 

*Sinfoni'a  (It.)  This  term  is  still  used 
in  Italy  to  designate  an  opera-overture  ; 
e.g.,  la  sinfonia  del  Tannhduser. 

Sinfoni'sta  (It.)  A  writer  of  sympho- 
nies, or  for  symphony-orchestra. 

Sing'amt  (Ger. )  See  Sitigmesse . . .  Sing'- 
en,  to  sing,  warhle.  . .  Sing'gedickt,  a 
poem  for  mus.  setting. . .  Sing'kiinst^  art 
of  singing.  ..Sing" lehrer,  singing-teach- 
er, . . Sing' lei ter,  gamut,  vocal  scale. . . 
Sing^  marc  hen,  vocal  ballad ...  ^/'«^'- 
meister,  singing  -  master . . .  Sing'messe, 
a  -  cappella  mass . . .  Sing'saite,  treble 
string,  chanterelle . . .  Sing'stunde,  sing- 
ing-lesson, vocal  instruction. ..  .S'/w;''. 
iihiing,  singing-e.xercise. . .  Sing'vcrcin, 
singing-society. 

Singhioz'zo  (It.)    Sob. 

Slancian'te,  Slancia'to  (It.)  "  Thrown 
off"  lightly  and  deftly,  or  forcibly  and 
vehemently. 

Slarga'to  (It.)    Slower,  fiii  sostenuto. 

*SHde.  4.  On  a  violin-bow,  that  part  of 
the  nut  which  slides  along  the  stick. 

Solmizza're  (It.)     Same  as  Solfeggtare. 

Sopranist'(in)  (Ger.)     Soprano  singer. 

Sorri'so  (It.)    A  smile. 

*Sorti'ta  (It.)    See  Aria  in  Appendix. 

Soutenu  (Fr.)     Same  as  Sostenuto. 

Specification.  (Ger.  Disposition^  An 
enumeration  of  the  various  stops  com- 
posing any  given  organ,  giving  number, 
kind,  and  arrangement. 

Spianar'  la  vo'ce  (It.)  To  render  the 
voice  even  ;  to  blend  the  registers. 

*Spicca'tO  (It.)  In  violin-technic,  a  va- 
riety of  staccato  differing  from  the  sal- 
tato  in  employing  the  wrist  -  stroke 
throughout,  for  each  detached  note. 


Spie'gelkanon  (Ger.)  A  canon  to  be 
performed  backwards  ;  i.e.,  as  it  appears 
when  held  before  a  mirror  ("  Spiegel  "). 

Spigliatez'za  (It.)  Agility,  dexterity, 
hx'x'S^Vx^tis.  .  .Spigliatez'ze  (pi.),  short, 
lively  pieces  or  studies  requiring  dex- 
terity. 

Stanchez'za  (It.)  Weariness ;  con  s(.. 
wearily,  very  dragging. 

Stan'co,-a     (It.)    Weary. 

*Stentan'do  (It.)  Means  literally,  "  de- 
laying, retarding,  dragging  "  the  tempo. 
. . .  Stenta'to,  delayed,  retarded,  dragged. 

Stiria'na  (It.)     See  Styrienne. 

Stornel'lo  (It.)  A  form  of  song  in  which 
each  8-line  stanza  rhymes  thus  :  1-3  2-4 

5-6  7-8. 

Strambot'to  (It.)  Folk-song ;  rustic 
love-ditty.     (Also  Strambot'tolo) 

Strappa're  (It.;  "to  pluck  off.")  In 
piano-technic,  to  throw  off  a  note  or 
chord  by  a  rapid,  light  turn  of  the 
wrist.  ..Lo  strappare,  the  throwing-off. 
. .  .  Strappato,  thrown  off  i^-'&x.gerissen'). 

Strascina're  la  vo'ce  (It.)  To  sing  a 
portamento  with  an  exaggerated  drag- 
ging or  drawling. 

Strei'cher  (Ger.)    Player(s)  on  any  bow- 

instr.s. 
Stret'ta  (It.)     A  closing  passage  (coda) 

in    swifter  tempo   than  the   movement 

preceding. 

Strich'-Staccato  (Ger.)  A  staccato  in- 
dicated by  wedge-shaped  dashes  ( '  ' ). 

Strict  style  (of  composition).  See  Coun- 
terpoint, strict. 

Strie'se  (Ger.;  It.  capoco'mico.)  The 
leading  comic  actor  or  singer  in  a  com- 
pany, either  gentleman  or  (It.  capoco'- 
mica)  lady. 

Strimpella'ta  (It.)  Strumming,  scrap- 
ing. 

Strin'gere  (It.)  To  hasten  ;  senza  striri' 
gere,  without  hastening. 

Strophic  composition.     See  Song  2. 

Styrienne  (Fr. ;  It.  Stiriana.)  An  air  in 
slow  movement  and  2-4  time,  often  in 
minor,  with  Jodler  after  each  verse ; 
for  vocal  or  instr.l  solo. 

Super'bo,-a  (It.)  Superb  ;  proud,  lofty. 
.  . .  Superhamen'te,  proudly,  loftily. 

Svilup'po  (It.)     Development. 

Sviz'zera,  alia  (It.)     In  Swiss  style- 


TABLE  DU  FOND— UNGEBUNDEN. 


245 


T. 

Table  du  fond  (Fr.)    Back  (of  violin). 

Ta'glio(It.)    A  "cut." 

Tallo'ne  (It.)     Nut  (of  bow). 

Tarantelli'na  (It.)     Little  tarantella. 

Telltale.  A  small  weight  moving  verti- 
cally in  a  groove,  and  so  connected  with 
the  bellows  of  an  organ  that,  by  rising 
and  falling,  it  shows  the  organist  or 
"blower"  the  amount  of  wind  in  the 
bellows. 

Terzetti'no  (It.)     A  short  terzet. 

Tetralogie'  (Ger.)  Tetralogy;  a  series 
of  4  stage-works  or  oratorios. 

Three-Step.  (Ger.  Dreitritt ;  It.  Vaker 
a  ire  passi ;  Fr.  trois-temps.)  The  or- 
dinary (Vienna)  waltz.     (See  Waltz.) 

Timballo'ne  (It.)  A  16-foot  pedal-stop 
in  the  organ. 

Timbrel  (Hebr.)    A  tambourine  or  tabor. 

*Time.     In    French    notation       n 
the   large    3   is     still    some-     to— ^:^r 
times  employed  instead  of  |.     X) 

Ti'mido  (It.)  Timid,  timorous. . .  Timo'- 
re,  con,  with  timidity  ;  timorously,  fear- 
fully, anxiously. 

Tonan'te  (It.)    Thundering,  thunderous. 

Ton'figuren  (Ger.,  pi. )  "  Tone-figures  "  ; 
i  e.,  "nodal  figures"  (^.z'.). 

Toni'metro  (It.)  Tuning-fork  (/.  a  per- 
cussione);  pitch-pipe  (/.  a  Jiato). 

*Ton'satz  (Ger.)  2.  Arrangement  (e.g., 
of  the  vocal  or  instr.l  accomp.  to  an 
ancient  melody). 

Tornan'do  (It.)  Returning  ;  /.  al priijio 
tempo  (or  t.  come  pritna),  returning  to 
(resuming)  the  original  tempo. 

Traduzio'ne  (It.)     Arrangement. 
Trascrizio'ne  (It.)     Transcription. 
Traspor'to,  con  (It.)     With   transport, 

ecstatically. 
Treff'iibung  (Ger.)    A   singing  exercise 

on  the  "  attack,"  as  regards  either  pitch, 

or  time  of  entrance  (in  duets,  canons, 

etc.). 
Treman'te  (It.)     Trembling;  i.e.,  with 

a  tremolo  effect. 
Trial  (Fr.)  Buffo  (or  comic)  tenor. 
Trich'terformiges    Mund'stiick  (Ger.) 

Conical  mouthpiece. 

Trilogie'    (Ger.)      Trilogy ;    a   series   of 

3  stage-works  or  oratorios. 
Trisser  (Fr.)     To  demand  a  number  for 


the  third  time  ;  to  "  encore"  for  a  sec- 
ond time. 
Trito'nikon  (Ger.)    A  modern  form  of 
double-bassoon,  made  of  metal. 

Trom'ba  rea'le  (It.;  "royal  trumpet.") 
An  8-foot  trumpet-stop  in  the  organ. 

Trompe  des  Alpes  (Fr. ;  \t.  from ba  de lie 
Alpi.)  ' '  The  hollowed  trunk  or  branch 
of  a  tree,  from  which  the  old  moun- 
taineers draw  strange  tones."  [Rein- 
troduced lately  into  Switzerland  by  Prof. 
Ileim  of  Zurich.] 

Tron'co,-a  (It.)  Cut  off  short  ;  stopped 
abruptly. . .  Siioni  tronchi,  tones  cut  off 
suddenly. 

*Tuba.  The  bass  tuba  in  E\^  is  exten- 
sively employed  in  the  modern  orchestra. 

*Turn.  Example  of  turn-sign  over  a 
dotted  note ;  from  Beethoven,  op.  14, 
No.  I,  showing  the  dot  as  he  himself 
wrote  it : 


T  .t-^J^ 


"Written : 


^^ ^ 


Played : 


Tut'ta  for'za  (It.)  Abbreviation  of  "  con 
tutta  la  forza,"  with  full  force. 

Two-step  (Ger.  Zweitritt ;  It.  Valzer  a 
due  passi  ;  Fr.  deux-temps.)  The  rapid 
waltz.     (See  Waltz.) 

u. 

O'bungsabend  (Ger.)     See  Abendunier- 

haltung,  in  Appendix. 

U'bungsstiick  (Ger.)   See  Vortragsstiick, 

in  Appendix. 
Um'gekehrt   (Ger.)      Reversed  ;    utnge- 

kekrter  Doppelschlag,  back  turn. 

Um'schmeissen  (Ger.  theatrical  slang.) 
To  break  down  in  a  role,  so  as  to  neces- 
sitate a  general  stoppage  and  the  recom- 
mencement of  the  passage. 

*Un'gebunden  (Ger.)     Unconstrained ; 


246 


UNION  DES  REGISTRES-WHIPPING  BOW. 


mit  ungebundenetn  Humor,  with  uncon- 
strained humor,  burlando. 

Union  des  registres  (Fr.)  Blending  of 
the  (vocal)  registers. 

Uni'ti  (It.,  pi.)  "United";  this  direc- 
tion in  a  score,  after  divisi,  signifies 
that  the  instr.s  or  voices  again  perform 
their  part  in  unison. 

Unvocal.  i.  Not  suitable  for  singing. — 
2.  Not  vibrating  with  tone  ;  umwcal  air 
is  breath  escaping  with  a  more  or  less 
audible  sigh  or  hiss,  due  to  unskilful 
management  of  the  vocal  apparatus. 

V. 

Val'zer  (It.)    Waltz. 

Veris'mo  (It.)    Naturalism, ..  Veris'tisch 

(Ger.),    pertaining    to    or    affected    by 

naturalism ;  naturalistic. 

Verstar'ken  (Ger.)     To  reinforce. 

*Vibra'to,-a  (It.;  pi.  vibrate  [/^  m^/c  im- 
plied].) Strongly  accented,  and  dimin- 
ishing in  intensity  (<=J  ;  vocal  or  instr.l). 
. . .  Vibrazio' ne  di  voce,  the  attack  of  a 
tone  forte  or  sf,  and  diminishing  while 
holding  it. 

Vi'de  se'quens  (Lat.)  "  See  the  follow- 
ing." 

Vielle  a  roue  (Fr.)     Hurdy-gurdy. 

Vigo're,  con  (It.)    With  vigor. 

Vio'la  al'ta.  A  large  viola,  inv.  by  Her- 
mann Ritter  of  Wismar,  Germany,  and 
described  in  his  pamphlet,  "  Die  Ge- 
schichte  der  Viola  alta  und  die  Grund- 
satze  ihres  Baues  "  (1877).  It  has  a 
fuller  and  freer  tone  than  the  ordinary 
viola,  and  has  been  quite  extensively 
introduced  into  German  orchestras. 

Vio'la  di  bordo'ne.  The  barytone 
(instr.). 

Violina'ta  (It.)  i.  A  piece  for  violin. — 
2.  A  piece  for  another  instr. ,  imitating 
the  violin-style. 

Violinzo'li  (It.)  An  8-foot  stop  on  the 
swell-organ. 

Violi'sta  (It.)    Viola-player. 

Violoncelli'sta  (It.)     'Cellist. 

Violot'ta.  A  bow-instr.  of  violin-type, 
inv.  1895  by  Dr.  Alfred  Stelzner,  Dres- 
den, and  intended  to  fill  the  hiatus  in  the 
string-quartet  between  viola  and  'cello. 
It  is  played  like  the  viola,  and  has  the 
same  dimensions  ;  but  its  accordatura 
is  G-d'U-e^,  a  fourth  lower  than  the  viola. 


Tone  full  in  lowest  register,  mellow  and 
tender  in  the  medium,  and  the  .iS^-string 
well-adapted  for  sustained  melody.  Suc- 
cessful concerts  have  been  given  with 
the  Violotta  and  'Cellone  (q.v.)  in  Dres- 
den.— Dr.  S.  claims  to  have  solved  the 
problem  of  obtaining  the  most  equable 
and  powerful  resonance  from  instr.s  of 
the  violin-type. 

Virtuose  de  pupitre  (Fr.)  See  Pultvir. 
tuos. 

Vitesse  (Fr.)     Rapidity,  swiftness. 

Vivement  (Fr.)     Same  as  Vivace. 

*Vocal  cords.  "The  free  median  bor- 
ders of  2  folds  of  mucous  membrane 
within  the  larynx,  bounding  the  ante- 
rior two-thirds  of  the  glottis  on  either 
side.  Each  is  formed  by  the  free  me- 
dian edge  of  an  elastic  (inferior  thyro- 
arytenoid) ligament  running  from  the 
angle  of  the  thyroid  cartilage  to  the 
vocal  process  of  the  arj'tenoid,  and  cov- 
ered with  thin  and  closely  adherent 
mucous  membrane." — [CenturyDict.] 

*Vo'gelgesang  (Ger.)  2.  A  stop  in  an 
organ  ("bird-stop  "). 

Voile  du  palais  (Fr.)    Veil  of  the  palate. 

Vor'setzungszeichen  (Ger.)  Chromatic 
sign. 

Vor'tragsstiick  (Ger.)  A  piece  for  per- 
formance before  an  audience  (in  con- 
tradistinction to  ilbungsstiick,  a  prac- 
tice-piece) ;  a  concert-piece  ;  a  show- 
piece. 

Vor'warts  (Ger.)  Forward(s)  ;  etwas  v. 
gehend,  somewhat  iasttT,J>oco  piit  mosso. 

*Vuo'to,-a  (It.)  2.  Empty  ;  scena  vuota, 
the  stage  [remains]  empty. 

w. 

Whipping  bow.  (Fr.  foueii/;  Ger.  ge- 
peitschte  Strichart.)  A  form  of  violin- 
technic  in  which  the  bow  is  made  to 
fall  with  a  certain  vehemence  on  the 
strings.  Chiefly  employed  when  it  is 
desired  to  mark  sharply  single  tones  in 
rapid  tempo ;  e.g.. 


Not  infrequent  in  modem  orchestral 
music  ;  but  avoided  by  the  classic  com- 
posers on  account  of  its  rough,  harsh 
effect. 


ZARAMELLA— ZITTERA. 


247 


Zaramel'la  (It.)  Rustic  pipe,  with 
double-reed  held  between  the  player's 
lips,  7  finger-holes,  and  bell-mouth ; 
plays  melodies  to  the  accompaniment 
of  the  Neapolitan  sampogna  {q.v.;  Ap- 
pendix). 

Ziem'lich  bewegt'  und  frei  im  Vor'- 


trag  (Ger.)     Quite  animated  and  free 
in  delivery  (style). 

Zi'therharfe  (Ger.)  A  species  of  auto- 
harp  in  which  dampers  actuated  by 
digitals  are  used  to  damp  the  strings. 
Miiller's  Accordzither  (inv.  1894?)  is 
an  example. 

Zit'tera  (It.)    Zither. 


SUPPLEMENT. 
English-Italian  Vocabulary 

for 

Composers. 


ABOVE— BELOW. 


A. 

Above.     Sopra.  .  .Above  the  right  hand, 

sopra  la  mano  destra. 
Accelerated.     Accelerate  ;  accelerating, 

accelerando;  stringendo  ;  pressante. . . 

Accelerating  the  tempo,    ravvivando   il 

tempo.      [See  EnUven.'\ 
Accented.  Marcato;  enfatico,  conenfasi. 

Accompaniments.     Accompagnamenti. 
.  .Accompaniment  very  soft  throughout, 
sempre  pp.  gli  accompagnamenti. 
Affected(ly).     Smorfioso  ;  affettato  (con 

affettazione). 
Affectionate(ly).      Affettuoso  (rffettuo- 

samente).     [See   Tender.'\ 
Afraid.     Paventato.     [See  Fearful?^ 
Again.     Ancora,  ancor. 
Agility.     Agilita  ;  velocita. 
Agitated(ly).     Agitato  (con  agitazione) ; 
tumultuoso      (tumultuosamente) ;      vi- 
brante. 
Agreeable.    Gradevole ;  piacevole.  [See 

Pleasing^ 
Air.     [See  Melody?^ 
All  together.    Tutti. 
Also.     Anche. 

Alternatively.     Alternamente. 
Always.      ^^xi\-^x&.  .  .Always  swift   and 
soft,  sempre   con   agevolezza   e   sotto- 
voce. 
And.    E,  ed  (before  a  vowel). 
Angry.     Adirato  ;  angrily,  con  ira. 
Animated(ly).       Animato  (con    anima) ; 
allegro    (allegramente)  ;    vivace    (viva- 
cemente) ;    vivido,    vivo  (vivamente  ) ; 
vivente  ;  visto  (vistamente);  con  mote  ; 
svegliato  ;  risvegliato. . .  With  growing 
animation,  animandosi. 
An    octave    higher.        All'ottava 

{Sva ,  or  <? ,ox8va 

alta). 


An  octave  lower.    All'ottava  bassa  [_8va 

bassa). 
Anxious(ly).     Ansioso  (ansiosamente)  , 

affanoso     (affanosamente)  ;      timoroso 

(timorosamente  ;  con  timore). 
Ardent(ly).     Ardente  (con  ardore) ;  fer- 

vente  (con  fervore). 
Artless(ly).  Innocente  (innocentemente); 

semplice     (semplicemente) ;      naturale 

(nuturalmente). 
As.  Come. 

As  above.     Come  sopra. 
As  before.     Come  avanti ;  come  prima 
As  far  as.     Fino,  or  fin';  sino,  or  sin*. 
Aside.     In  disparte. 
As  if.     Quasi. 
As  usual.     Al   solito. 
As   written.       Come   sta ;    loco    (after 

Si,a ;     or     simply     terminate 

dotted  line  with  a  down-stroke). 
At  a  distance.     In    distanza  ;    in   lon- 

tananza  ;  da  lontano. 
At  pleasure.     A  piacere  ;  ad  libitum  ;  a 
bene   placito ;     senza   tempo  ;    a    suo 
arbitrio. 
At  sight.     A  prima  vista. 
Attack.      Attacca,    attaccate   (//.) ;    at- 

tack  instantly,  attacca(te)  subito. 
At  the   former  tempo.     A  tempo,  or 
Tempo  I  ;  moto  precedente. 

B. 

Babbling.     Straccicalando. 

Back   to  the  sign.     Dal  segno  (•%•)• 

. .  Back  to  the  beginning,  da  capo. 
Backwards.     Al  rovescio. 
Begin  (to).  Attaccare. .  .Begin  I  attacca, 

attaccate.  . .  To  begin  again,  ripigliare. 
Beginning.     Principio ;   capo. 
Below.  Sotto  ;  beloxu  the  left  hand,  sotto 

la  mano  sinistra. 


250 


BITTERLY— DIVIDED. 


Bitter(Iy).     Amarevole  (con  amarezza). 
Bizarre(ly).       Bizzarro    (bizzarramente, 

con  bizzarreria). 
Boisterous(ly).      Strepitoso   (strepitosa- 

mente,  constrepito)  ;  brioso  (con  brio); 

tempestoso    (tempestosamente). 
Bold(ly).      Ardito  (con  arditezza) ;  fiero 

(fieramente  ;  con  bravura  ;  francamente; 

con  fierezza);  intrepido  (intrepidamente, 

con  intrepidezza ;  tostamente). 
Bound.     Legato. 

Brilliantly.    Brillante  ;  scintUlante. 
Brisk(ly).        Vivo    (vivamente) ;      visto 

(vistamente)  ;    allegro    (allegramente)  ; 

lesto ;  vivace. 
Broad(ly).       Largo     (largamente,     con 

larghezza) ;  (frase  larga)  ;  very  broad{ly), 

larghissimo(molto  largamente)  ;^;^ro7w«^ 

broader,     largando,    allargando... 

Broader,  piu  largamente. 
Brusquely.     Bruscamente. 
Burlesque(ly).  Burlesco  (burlescamente). 
But.     Ma. 
By.     Da  ;  by  leaps  or  skips,  di  salto. 


c. 

Calm(Iy).     Tranquillo  (tranquillamente, 

con    tranquillita)  ;     placido,    (placida- 

mente)  ;      (\mQ\.o.  .  .Grozuiug      calmer, 

calmando ;       calando  ;      raddolcendo, 

raddolcente. 
Caprice.     Capriccio  ;  capricious,  capric- 

cioso,     vicendevole  ;      capriciously,     a 

capriccio,  vicendevolmente. 
Carefully.      Con  diligenza  ;   con  osser- 

vanza  ;  con  precisione. 
Careless(ly).      Negligente  (negligente- 

mente). 
Caressing(ly).        Carrezzando,     carrez- 

zevole  (carezzevolmente);  accarrezzevole 

(accarrezzevolmente). 
Certain  (adj.).     Alcuno,-a. 
Change  I     Muta. 
Chant.     [See  Melody?^ 
Charming(ly).    Vezzoso  (vezzosamente). 
Chaste.     Nobile. 
Clear(ly).     Chiaro  (chiaramente)  ;  netto 

(nettamente). 
Coaxing(ly).    Lusingando,  lusinghevole 

(lusinghevolmente). 
Cold(ly).       Freddo    (f reddamente ,    con 

freddezza). 


Comic(ally).  Buffo, -a  ;   buffonesco  (buf- 

fonescamente). 
Complaining.      Lamentando,    lamente- 

vole  ;   lagrimando,  lagrimoso. 
Connectly.     Legato. 
Consoling(ly).     Consolante. 
Continually.     Sempre. 
Continue.     Va. 
Contra-dance.     Contraddanza. 
Coquettishly.     Con  civetteria. 
Country-dance.     Contraddanza. 
Cradle-song.  Ninna-nanna ;  ninnerella. 

D. 

Dark.    Cupo. 

Dashing.     Sbalzato ;  precipitate. 

Decided(ly).     Deciso ;   fermo   (con   fer- 

mezza)  ;   energico  (con  energia). 
Declamatory.     Declamando  ;  narrante  ; 

parlando. 
Decreasing   (in  force).     Decrescendo  ; 

diminuendo  ;  raddolcendo  ;   diluendo. 
Decreasing   {in    speed).     Rallentando  ; 

ritardando  ;       ritenente  ;       tardando  ; 

lentando  ;     sientando  ;     strascinando  ; 

rilasciando  ;  rilasciante. 
Decreasing  {in  force  ajid  speed).    Cal- 
ando ;     deficiendo ;     mancando ;     mo- 

rendo  ;  sminuendo  ;  smorzando. 
Deliberate(ly).       Deliberato    (delibera- 

mente). 
Delicate(ly).      Delicato   (delicatamente, 

con  delicatezza)  ;  tenero   (teneramente, 

con  tenerezza). 
Desperate(ly).     Disperato  (con  dispera- 

zione). 
Detached.      Staccato,    distaccato ;    pic- 

chettato  ;  very   detached,  staccatissimo. 
Determined.     Determinato  ;  risoluto. 

Devotional(ly).     Devoto  (devotamente, 

con    devozione) ;     religioso    (religiosa- 

mente). 
Dignified.     Posato  ;  grave. 
Discreet(ly).  Discreto  (con  discrezione). 
Disdain.     [See  Scorn.'\ 
Distant.     Lontano ;   at  a   distance,   da 

lontano,  in  lontananza,  in  distanza. 
Distinct(ly).    Chiaro  (chiaramente) ;  ben 

marcato ;  distinto  (distintamente). 
Distressed.     Appenato. 
Divided.     Divisi. 


DOLEFULLY— FREELY. 


251 


Ooleful(ly).  Dolendo.dolente  (con  dolore, 
dolentemente). 

Dragging.  Stentando  ;  strascinando  ; 
strascicando  ;  stirato. 

Drawling.     Strascicando. 

Dreaming,     Sognando. 

Dreamy.  Yago. .  .Drc-avii/y,  quasi  so- 
gnando. 

Drinking-song.     Brindisi. 

Droll.     Buffonesco. 

Dry.    Secco. 

Dwelt   upon.     Tenuto,  sostenuto. 

Dying  away.  Morendo  ;  smorzando  ; 
mancando ;  perdendosi ;  diluendo; 
espirando  ;  estinguendo,  stiuguendo. 

E. 

Easy.     Agevole  ;  commodo  ;  disinvolto  ; 

facile ;  mobile. .  .Easily,  con  agevolezza, 

agevoimente  ;  agiatamente  ;  commoda- 

mente  ;  facilmente  ;  con  disinvoltura. 
Ec.io.     Ecco . . .  Like  an  echo,  quasi  ecco. 
Elegant(ly).  Garbato  (congarbo).    [See 

Graceful.^ 
Emphatic(ally).    Enfatico  (con  enfasi)  ; 

marcato  ;  sforzato. 
End.     Fine. .  .  To   the  end,  sin'  i^or  fin') 

al  fine. 
Energetic(ally).       Energico    (energica- 

mente,    con   energia)  ;  risentito  ;   riso- 

luto  (risolutamente,  con  risoluzione). 
Enlivening     (tempo).       Ravvivando    il 

tempo  ;    animandosi,  animando. 
Enthaisiastic(ally).     Zeloso  (con  zelo  ; 

con  entusiasmo). 
Entreating(ly).       Supplichevole     (sup- 

plichevolmente). 
Equal(ly).     Eguale  (egualmente) ;  equa- 

bile  (equabilmente). 
Even(ly).     Eguale  (egualmente)  ;  uguale 

(ugualmente)  ;    tepido    (tepidamente)  ; 

spianato. 
Exact.     Esatto. . .  JF///^   exactness^  con 

esatezza.     [See  Precise.~\ 
Expiring.       Espirando.      [See     Dying 

away^ 

Expressive(ly).     Espressivo   (con 

espressione);  sentito,  risentito;  pietoso; 

sentimentale  ,•    (con    sentimento  ;     con 

sensibilita). 
Extempore.        All'improvvista ;     alia 

mente  .  .  .  Extemporaneously,   improv- 

visamente. 


Extinct.     Estinto. 

Extravagant (ly).      Stravagante    (stra 

vagantemente). 
Extreme.     Sommo,-a. 
Extremely.     Molto,  di  molto  ;  -issimo. 

F. 

Fading  away.     [See  Dying  away.] 

Faint.     Fiacco  ;    debile  ;   estinto. 

Fantastic.     Fantastico. 

Fast,  Allegro  ;  vivace  ;  vivo  ;  presto. 
.  .  l^ery  fast,  allegro  molto,  allegro 
assai,  allegro  vivo  ;  vivacissimo  ;  pre- 
stissimo. .  Rather  fast,  allegretto,  al- 
legro moderato .  .  .  Not  too  fast,  non 
troppo  allegro.  .  .  Twice  as  fast,  doppio 
movimento  ;  not  so  fast,  meno  mosso. 

Faster.  Piu  mosso  ;  piu  allegro  ;  piu 
presto;  vqIocs..  .  .Easter  and  faster, 
sempre  accelerando  ;  pressando,  pres- 
sante. 

Fearful(ly).  Paventato  ;  timido  (timi- 
damente)  ;  timoroso  (timorosamente  ; 
con  timore). 

Feeble.     Debile,  debole. 

Feelingly.     [See  Expressively.'] 

Fervent(ly).  Fervente  (con  fervore)  ; 
ardente  (con  ardore). 

Festive(ly).     Festivo  (festivamente). 

Fierce(ly).  Feroce  (con  ferocita)  ;  fiero 
(fieramente)  ;  barbaro. 

Fiery.     Fuocoso  ;  con  fuoco  ;  ardente. 

Firm(ly).  Fermo  (fermamente,  con  fer- 
mezza). 

First  part.  Primo  {in  a  duet)  ;  first 
time,  prima  volta  ( |i.  |). 

Flattering(ly).  Lusingando,  lusin- 
ghevole  (lusinghevolmente). 

Flowing(ly).  Scorrendo,  scorrevole  ; 
disinvolto  (con  disinvoltura)  ;  sciolto 
(scioltamente) ;  andante  (andantemente). 

Fluently.  Volubilmente.  [See  Elowing.] 

Flying.     Volante. 

Following.     Seguente,  seguendo. 

Fond(ly).  Amorevole  (amorevolmente, 
con  amore)  ;  amoroso  (amorosamente). 

For.     Per. .  .For  voices  alone,  a cappella. 

Forcibly.  Con  forza  ;  bruscamente ; 
con  tutta  forza. 

Forcing.     Forzando,  sforzando. 

Free(ly).  Disinvolto  (con  disinvoltura; 
francamente,  con  franchezza ;  libera- 
mente);  generoso;  sciolto  (scioltamente). 


952 


FRENZY- IN    MILITARY  STYLE. 


Frenzy.    Delirio  ;  yr,?«siVt/(/)'),delirante 

(con  delirio  ;  con  rabbia). 
From.      Da . . .  From  the  beginning.    Da 

csi^o. .  .From   the    sign,    Dal    segno; 

from  the  sign  to  the  sign,  Dal  segno  al 

segno. 
Full.     Pieno,-a. 
Funereal.     P'unebre. 
Furious(ly).        Fuiioso     (furiosamente  ; 

con    rabbia)  ;     ^cith    cxtrone    fury   or 

passion^  furiosissimamente. 

G. 

Gay.  Gajo  ;  giojoso. .  .  Gaily,  gajamente, 
giojosarnente. 

Gliding.  Glissando  ;  portamento,  por- 
tando  ;  scorrendo  ;  strisciando. 

Gondola-song.     Gondoliera. 

Go  on  1     Va. 

Graceful(ly).  Grazioso  (graziosamente, 
con  grazia  ;  con  garbo) ;  disinvolto 
(con  disinvoltura) ;  galante  (galante- 
mente)  ;  elegante  (elegantemente)  ;  vez- 
zoso  (vezzosamente)  ;  venusto. .  .  Grace- 
fully and  siveelly,  affabile,  amabile. 

Gradually.  A  poco  a  poco  ;  gradata- 
mente. 

Grand(ly).  Grandioso ;  nobiie  (nobil- 
mente,  con  nobilita). 

Grave(ly).  Grave  (gravemente,  con 
graviti). 

Grotesque(ly).  Grottesco  ;  burlesco  (bur- 
lescamente). 

Grov^ing,     \StG  Decreasing  and  Increas- 

H. 

Half.  Mezzo, -a. .  .Half -Ion J, mezzo ior\.Q; 

half-soft,  mezzo  piano,  mezza  voce. 
Hammered.     Martellato. 
Harsh(ly).     Aspro  (con  asprezza);  duro 

(duramente) ;  stridente. 
Harshness.     Asprezza  ;  durezza. 
Hastening.     Accelerando  ;  stringendo  ; 

aflrettando  ;  calcando. 
Haughty.       Yxero. .  .Haughtily,     fiera- 

mente. 
Heartfelt.      Intimo,  intimissimo  ;   affet- 

tuoso,  con  affetto. 
Heavy.     Ponderoso  ;  pesante  ;  grave... 

Heavily,  pesantemente,  gravemente. 
Held     back.       Ritenuto ;     trattenuto ; 

meno  mosso. 


Held  down.     Tenuto. 

Heroic.     Eroico,-a. 

Hesitating(ly).     Irresoluto  ;  timido  (ti- 

midamente)  ;  vacillando. 
High.     Alto, -a.. .  .Highest,   il    piu   alto, 

altissimo. . ./«  the  higher  octave,  ottitvn 

alta  (Sva ). 

Hoarse(ly).     I'ioco  (con  fiochezza). 
Holding     back     {tempo).       Riteneute; 

ritardando. 
Humoi"OUSly.     Con  umore. 
Hurried(ly).      Affrettoso   (con    fretta) ; 

frettoloso  (frettolosamente). 
Hurrying.     Aflrettando ;  stringendo 

I. 

If.     Se. 

Imitating.     Imitando  ;  quasi. 

Impassioned.     Appassionato,  appassio- 

natamente;  con   abbandono,   abbando- 

natamente  ;  caloroso. 
Impatient(ly).     Impatiente  (impatiente- 

mente). 
Imperceptible.     Insensibile  ;    impercep- 

tibly,  insensibilmente. 
Imperious(ly).       Imperioso   (imperiosa- 

mente). 
Impetuous(ly).     Impetuoso  (con  impeto, 

impetuosamente,      con      impetuosita) ; 

s  b  a  1  z  a  t  o  ;    tempestoso   (tempestosa- 

mente). 
Imposing.     Imponente. 
In  a  festive  manner.    Con  festivita. 
In  a  gentle,  quiet  manner.  Con  lenezza, 
In  a  svyeet  manner.  Con  dolce  maniera. 
Increasing  (/«   speed).      Accelerando  ; 

stringendo  ;    aflrettando  ;   incalzando  ; 

ravvivando  il  tempo;  doppio  movimento. 
Increasing  {in  force).     Crescendo  ;  ac- 

crescendo  ;  rinforzando. 
Increasing  {in  force  and  speed).     Strin- 
gendo ;  aflrettando  ;  incalzando. 
In  declamatory   style.      Declamando, 

recitando  ;  narrante  ;  parlando. 
In  devotional  style.    Devoto,  con  de- 

vozione. 
Indifferent(ly).       Indifferente     (indifTe- 

rentemente  ;   con  indififerenza)  ;  tepido 

(tepidamenle). 
Infernal.     Infernale. 
In  haste.     Con  fretta. 
In  military  style.     Militarmente. 


IN  MODERI^  STYLE— MUFFLED. 


253 


In  modern  style.     Alia  moderna. 
In    octaves.       Doppio    pedale   {organ- 
pedal)  ;  coll'ottava  {loll'S ). 

Insinuating.     [See  Flatlering.'] 

Intense(ly).     Intense  (intensamente,  con 
intensita). 

In  the  same  manner.     Simile. 

In  the  same  time.      L'istesso  tempo  ; 

moto  precedente. 
In  the  style  of  a.     Alia. 
In  time.    A  tempo  ;  Tempo  I  ;  misurato 

{after  a  recitative). 
Ironical(ly).     Ironico  (ironicamente). 
Irresolute(ly).     Irresolute   (con    irreso- 

luzione). 

J. 

Jesting(Iy).     Scherzando  ;  giocoso  (gio- 

cosamente). 
Jovially.     Con  giovialita. 

Joyous(ly).       Giojoso     (giojosamente)  ; 
gaudioso. 

Jubilant(ly).      Giubiloso   (con   giubilio, 

con  giubilazione). 
Judicious(ly).    Discrete  (con  discrezione). 


L. 

Lamenting.     Lamentando,  lamentabile, 

lamentoso  ;   piangendo. 
Languid(ly).     Languid©  (con  languore, 

languidamente). 

Languishing(ly).  Languendo  (langui- 
damente). 

Left  hand.     Mano  sinistra. 

Leisurely.        Adagietto  ;     moderate . . . 

Rather  leism-eiy,  commodette. 
Less.     Meno. 
Light(ly).     Leggere   or   Leggiero  (leg- 

geramente,  con  leggerezza  ;  agilmente)  ; 

sfegato  ;  svelte. 

Lingering(ly).  Tardo,  tardande  (tarda- 
mente). 

Little  by  little.    A  poco  a  poco. 

Lively.  Vivace,  vivacemente  ;  vivo,  viva- 
mente ;  allegro,  allegramente  ;  viste, 
vistamente  ;  cen  allegrezza  ;  svegliato  '; 
lesto  ;   deste. 

Lofty.  Nobile  ;  fasteso  ;  pemposo ; 
elevate ...  Zt////)',  cen  nebilita  ;  ceri 
pompa. 

Longingly.     Con  desiderio. 


Loud.  Forte ;  con  forza  ;  very  loud, 
fortissimo  ;  extremely  loud,  con  tutta 
forza,  forte  pessibile  (fff)  ;  half-loud, 
mezzo  forte  ;  loud,  suddenly  decreasing 
to  soft,  forte  piano  (fp). 

Louder.  Piu  forte  ;  crescendo  ;  rinfer- 
zande. 

Love.      Amore. 

Loving(ly).     Amorevole,   amoroso  (con 

amore,  amorosamente)  ;  amabile. 
Lullaby.     Ninnerella,  ninna-nanna. 
Lyric.     Lirico. 

M. 

Majestic(ally).      Maestoso,  maestevole 

(maestesamente,  cenmaesta)  ;  pemposo 

(con  pompa)  ;  fastose  (fastesamente). 
Manner.     Maniera  ;  in  a  quiet  tnanner, 

con  dolce  maniera.     [See  /«.] 
Marked.     Marcato  ;  con  forza  ;    rinfor- 

zato,  rinforzando  ;    enfatice  ;    sforzato 

sferzande  {sfz). 
May  song.     Maggiolata. 
Measured.     Misurato. 
Medley.     Mescolanza  ;  olio  ;  pasticcio. 
Melancholy.     Malinconico  ;    with   mel 

ancholy,  malinconicamente,  cen  malin- 

conia. 

Melody.  La  meledia.  II  canto.  La 
parte.  .  .Mark  (or  accent)  and  "  catfy" 
the  fnelody,  Marcato  e  portando  la 
meledia  (il  canto)  ;  ben  e  precisarr»ente 
portando  la  meledia  ;  la  melodi  i  (il 
canto)  ben  portando  ed  espressivo 

Menacing(ly).  Minaccevole  (mia'V:ce- 
volmente). 

Mildly.  Dolce  ;  (delcemente,  cof  dol- 
cezza)  ;  piacevele  ;  affabile. 

Moderate(ly)  {speed).  Mederato  (Qede- 
ratamente) ;  nen  troppo  allegro. 

More.  Pill  ;  tnore  slozvly,  piu  lent^',  piii 
adagio. 

Most.     II  pivi. 

Mournful(ly).  Mesto  (mestamtnte)  ; 
addolorato  ;  amarevele  (a  m  a  r  e  v  e  1- 
mente)  ;  flebile  ;  funebre  ;  lugubre  ; 
(conespressione  di  patimente)  ;  dolente. 

Mouth.  ]5occa  ;  with  closed  rnouth,  con 
bocca  chiusa. 

Moved.     Concitate.     [See  Agilated.l 
Movement.     Movimento. 
Much.     Melte. 

Muffled.  Ceperto  ;  suffocate ;  serdo 
(serdamente);  cen  sordini. 


254 


MURMURING— RINGINGLY. 


Murmuring.   Mormorando  ;  susurrando. 
Muted.     Con  sordino  (//.  con  sordini). 
Mystertous(ly).    Misterioso  (misteriosa- 
mente) ;  cupo. 

N. 

Natural(Iy).     Naturale    (naturalmente). 

[See  Simple.] 
Nearly.    Quasi. 
Neat(l7).       Netto    (nettamente)  ;     leg- 

giadro  (leggiadramente). 
Negligent(ly).     Negligente  (negligente- 

mente,  con  negligenza). 
Night-piece.  Notturno. 
Nimble.       Agile  ;     svelto  ;     sciolto... 

Nimbly,  agilmente,  con  agilita  ;  sciolta- 

mente  ;  allegramente. 
Nobly.     Nobilmente,  con  nobiliti. 
Noisy.     [See  Boisterous^ 
Not.     Non. . .  A^is/Ji",  meno  ;  not  so  fast, 

meno   mosso,  meno   allegro  ;    not  too, 

non  troppo  ;  non  tanto. 

o. 

Obliged  (necessary).     Obbligato. 

Obscure.     Cupo  ;  misterioso. 

Of.     Di. 

On.     Su  ;  sopra  {above). 

Or.    O,  od  {before  a   vowel);    or   else, 

ossia  ;  oppure  ;  ovvero. 
Other.     Altro,-a. 

P. 

Passionate(ly).  Passionato  (passionata- 
mente)  ;  appassionato  (appassionata- 
mente)  ;  (con  passione)  ;  ardente  (con 
ardore) ;  fervente  (con  fervore) ;  furioso 
(con  furore)  ;  caloroso  (con  calore). 

Pastora'.   Pastorale  ;  rustico ;  campestre. 

Pathetic(ally).  Patetico  (patetica- 
mente) ;  doloroso  (dolorosamente,  con 
dolore). 

Pensive.     Pensieroso. 

Phrase  (to).  Fraseggiare  ...  Well 
phrased,  ben  fraseggiando. 

Piece.     Pezzo. 

Piquantly.     Con  piccanteria. 

Placid(ly).  Placido  (placidamente).  [See 
Tranquil^ 

Plaintive(ly).  Lamentando  ;  dolendo, 
dolente,  doloroso  (con  dolore,  dolorosa- 
mente); addolorato;  tlebile ;  piangendo. 
[See  Mournful.] 


Playful(ly).       Giuochevole,    giuocante ; 

(con  giuoco) ;   giocoso  (giocosamente) ; 

scherzoso,  scherzando. 
Pleading(ly).      Supplicando,  suppliche- 

vole  (supplichevolmente). 

Pleasing(Iy).  Piacevole  (piacevolmente), 
compiacevole  ;  gradevole  (gradevol- 
mente). 

Pompous(ly).  Pomposo  (con  pompa) ; 
fastoso  (fastosamente). 

Ponderous.     Ponderoso  ;  pesante. 

Possible.  Possibile ;  as  fast  as  pos- 
sible, presto  possibile  ;  as  loud  as  pos- 
sible, forte  possibile  ;  con  tutta  forza. 

Prattling.     Straccicalando. 

Prayer.     Preghiera. 

Precipitate(ly).  Precipitate,  precipi- 
toso,  precipitando  (precipitatamente). 

Precise(ly).     Preciso  (con  precisione). 

Pressing  {tempo).  Stringendo,  pressante ; 
{expression)  insistendo. 

Prompt(ly).  Pronto  (prontamente,  con 
prontezza). 

Pronounced.     Pronunziato. 

Proud(ly).  Fiero  (fieramente)  ;  altiero 
(altieramente,  con  alterezza). 

Psalm.     Salmo. 

Q. 

Quiet(ly).  Quieto  ;  tranquillo  (tranquilla- 
mente  ;   con  lenezza).    [See  Tranquil.] 

R. 

Rapid(ly).  Rapido  (rapidamente,  con 
rapidita) ;  celere  ;  veloce  (velocemente, 
con  velocita,  velocissimamente) ;  mosso 
{in phrases  like  meno  mosso,  piu  mosso, 
etc.) ;  tosto  (tostamente).  [quanto. 

Rather.      Ouasi  ;    piuttosto  ;    poco  ;    al- 

Refined.     Nobile  (nobilmente). 

Religious(ly).  Religioso  (religiosa- 
mente)  ;  devote  (devotamente). 

Reposeful(ly).  Riposato  (riposata- 
rnente). 

Resonant(ly).  Sonoro  ;  sonante  (con 
risonanza  ;  sonoramente,  con  sonorita). 

Restless.     Inquieto. 

Resume  (to).     Ripigliare  ;  riprendere. 

Reverie.     Meditazione. 

Rhythmized.     Ben  ritmato. 

Right  hand.     Mano  destra. 

Ringing(ly).  Sonoro  (sonoramente,  con 
sonorita). 


ROMPING'-THAN. 


255 


Romping.     Burlando. 


Rough(ly).     Aspro   (con   asprezza)  ;  ru- 
vido  (ruvidamente) ;  (bruscamente). 

Rustic.     Rustico  ;  campestre  ;  pastorale. 


Sad(ly).     Tristo    (tristamente,  con    tri- 

stezza) ;  mesto(mestamente,  con  mesti- 

zia) ;  languendo,  languente  ;  dolente. 
Same  (the).     Medesimo  ;  detto  ;  stesso. 
Scorn.     Sdegno  ;  scorn/ul{h'),  sdegnoso 

(sdegnosamente). 
Second  part.     Secondo  {in  a  duet). 
Second  time.  Seconda  volta.  (|  2.  |.) 

Serious(ly).     Serioso  (con  serieta). 
Sighing.      Sospirando,  sospirevole,  so- 

spiroso. 
Similarly.     Simile. 
Simple.     Semplice  ;  schietto  ;    naturale. 

. .  Simply,    semplicemente,    con     sem- 

plicita  ;  schiettamente,  con  schiettezza  ; 

naturalmente. 
Singing.     Cantando  ;    melodico. . ./«  a 

singing  style,  cantabile. 
Sketch.     Bozzetto. 
Sliding.     Sdrucciolando. 
Slow(ly).     Adagio  ;    lento   (lentamente, 

con   lentezza)  ;  very  slow,  lento  molto, 

adagissimo  ;     grave ;     largo  ;     7-athcr 

slow,    andante,    andantino,    adagietto, 

moderato. 
Slower.     Meno  mosso  ;  piu  adagio  ;  piu 

lento.    [See  Decreasingl\.  .  .  Slozoer  and 

slower,  a  poco   a   poco  rallentando  (or 

ritardando). 
Slurring.       Legato  ;     portamento,    por- 

tando  ;  slissando. 
Smooth(ly).       Legato ;     eguale    (egual- 

mente) ;     piacevole      (piacevolmente)  ; 

slissato  ;     soave     (soavemente)  ;     stri- 

sciando. 
Sobbing,      Singhiozzando. 
Soft(ly).      Piano  ;     dolce    (dolcemente  ; 

mollemente)  ;     very  soft,    pianissimo  ; 

dolcissimo  ;  estinto. 
Softer.     Meno  forte.    [See  Decreasing?^ 
Solemn(ly).       Solenne     (solennemente, 

con  solennita). 
Somewhat.     Poco  ;  quasi. 
Song.     [See  Melody^ 
Sonorous(ly).  Sonoro  (sonoramente.  con 

sonorita). 


Sorrowful(Iy).     Afflitto  (con  afflizione) ; 

mesto  (mestamente)  ;  doloroso  (doloro- 

samente). 
Sparkling.     Brillante  ;  scintillante. 
Spirited(ly).      Spiritoso  (spiritosamente, 

con  spirito)  ;  brioso  (con  brio). 
Sportive.     [See  Playful^ 
Sprightly.     Desto. 
Springing.     Saltando. 
Stern(ly).     Duro  (duramente). 
Sternness.     Durezza. 
Stifled.     Suffocato  ;  con  voce  suffocata- 
Still.     Ancora  ;    still  faster,  ancor  piiJ 

mosso  ;  still    slower,   ancor  piu  lento, 

ancor  piu  moderato. 
Strict(ly).        Giusto    (giustamente,    con 

giustezza) ;     severo     (severamente). . . 

Strictly  in  time,  a  {or  al)  rigore  di  tempo; 

tempo    rigoroso  ;    misurato  ;    aggiusta- 

tamente  ;  andare   a  tempo  ;    a  battuta. 

(Ben  misurato.     Ben  ritmato). 
Strident.     Stridente. 
Style.     Stilo  ;  modo.  .  .In  the  style  of  a., 

alia  ;  in  modo. 
Suave(ly).       Soave     (soavemente,     con 

soavita) ;    dolce   (dolcemente,  con  dol- 

cezza,  con  dolce  maniera). 
Sublime.     Elevato  ;  nobile. 
Suddenly.  Subito,  subitamente;  di  colpo. 
Supplicating(ly).       Supplicando,     sup- 

plichevole  (supplichevolmente). 
Sustainedly.       Sostenuto,    sostenendo, 

sostenente. 
Sweet(ly).  Dolce  (dolcemente)  ;  affabile, 

amabile.     [See  Siiave.^ . . .  Very  sweetly, 

dolcissimo. 
Swelling.     Crescendo. 
Swift.      [See  Rapid^^ 
Sympathetic(ally).    Pietoso  (con  pieta). 

T. 

Tasteful(ly).     Gustoso  (con  gusto). 

Tearful(ly).       Lagrimoso,    lagrimando ; 
piangendo  ;  flebile  ;  (con  pianto). 

Tempestuous(ly).      Tempestoso    (tem- 
pestosamente). 

Tender(ly).  Tenero  (teneramente,  con 
tenerezza) ;  dolce  (dolcemente,  con 
dolcezza) ;  affettuoso  (affettuosamente, 
con  affezione)  ;  amabile  ;  amorevole, 
amoroso  ;  lirico. 
i  Than.     De. 


256 


THEN— WITH   EASE. 


Then.     Allora  ;  poi. 
Thoughtful.     Fensieroso. 
Threatening(ly).     Minacciando,  minac- 

cioso,  minaccevole  (minaccevolmente). 
Timid(ly).      Timido  (timidamente,   con 

timidezza). 
Timorous.      Timoroso  (timorosamente, 

con  timore). 
Tinkling.     Squillante. 

To.  A,  ad  {before  a  vowel). .  .To  the 
sign,  al  segno. 

Together.      Unisono  ;  tutti. 

Too.       Anche   {also) ;    troppo  ;    not  too 

fast,  non  troppo  allegro  ;  not  too  sloiv, 

non  troppo  lento. 
Tranquil(ly).        Tranquillo    (tranquilla- 

mente,  con  tranquillita)  ;  placido(placi- 

damente,     con     placidezza) ;    spianato. 

[See  Qtiietly.'\ 
Trembling(ly).     Tremolo ;   tremolando, 

tremoloso  (tremolosamente). 
Triumphant(ly).       Trionfante  (trionfal- 

mente). 
Tune.     [See  Melody.'] 
Turn  over  quickly.     Volti  subito. 
Twice  as  fast.     Doppio  movimento. 

u. 

Under.      Sotto  ;  under  the  right  hand, 

sotto  la  mano  destra. 
Undulating.     Ondeggiante ;   tremando, 

tremoloso. 
Uneasy.  Affannato,  affannoso;  unea&ily, 

affannosamente. 
Unimpassioned.     Tepido. 
Unrestful.     Inquieto. 
Until.     Fino  (fin')  ;  sino  (sin'). 
Upon.     Su  ;  sopra. 
Up  to.     [See  Until.] 
Urgent(ly).     Insistendo  (con  insistenza); 

instante  (instantemente). 

V. 

Vague.     Vago. 

Vehement(ly).  Veemente  (con  vee- 
menza)  ;  acciaccato  ;  sforzando  ;  feroce 
(con  ferocita  ;  con  islancio);  smaniante. 

Very.  Molto  ;  assai  ;  ben(e). . .  Fi-rj' 
slow,  molto  lento  ;  very  moderate,  molto 
moderato;  very  fast,  molto  allegro,  alle- 
gro assai ;  presto,  prestissimo,  prestissi- 


mamente  ;  very  inarked,  ben  marcato, 
marcatissimo ;  very  soft,  pianissimo, 
dolcissimo  ;  {vocal)  a  fior  di  labbra . 
very  loud,  fortissimo. 

Vibrant,  Vibrating.     Vibrante. 
Vigorous(ly).    Vigoroso  (vigorosamente, 

con  vigore). 
Violent(ly).   Violento,  violente  (violente- 

mente).      [See  Impetuous.] 
Vivacious.     [See  Animated^ 
Voice.      Voce,    canto,    parte ;    7vith   thi 

voice,  colla  voce,  coUa  parte,  col  canto. 

w. 

Wailing,     Lamentando  ;  piangendo. 
Warlike,    (juerriero  ;  bellicoso  ;  in  war' 

like  style,  bellicoso,  bellicosamente. 
Warmly.     Con  calore,  caloroso. 
Wavering.    Tremolando  ;  vacillando. 
Weak.     Debile,  debole. 
Well.      Bene,  ben. . .  Well  marked,  bem 

marcato,     or    ben    pronunziato ;    well 

rhythmed,  ben  ritmato  ;   well  sustained, 

ben  tenuto,  or   ben    sostenuto. . .  IVell 

phrased,  ben  fraseggiando. 
Whim.     Ghiribizzo  ;  capriccio  ;  fantasia. 
Whimsical.     Ghiribizzoso. 
Whispering.     Susurrando,  susurrante. 
Wild(ly).     Feroce   (ferocemente) ;    fiero 

(fieramente). 
With  affectation.     Smorfioso. 
With  affection  (pathos).     Con  affetto. 
With  anger.     Con  ira,  irato. 
With  anguish.     Angoscioso,  angoscio* 

samenle. 
With  ardor.     Con  affetto  ;  con  ardore. 
With  boldness.     Con  fiducia. 
With  breadth.     Largo,  largamente. 
With  confidence.     Con  fiducia. 
With  constantly  increasing  warmth, 

Sempre  incalzando. 
With  decision.     Deciso. 
With    deliberation.        Con    lentezza  ; 

lentamentc. 
With  desperation.     Con   disperazione 
With     discretion.        Con    discrezione, 

discreto. 
With  distinctness.     Distintamente,  di- 

stinto  ;    con    chiarezza  ;  marcato,  mar* 

cando. 
With  ease.     Con  agevolezza. 


WITH    EMOTION— ZEPHYR-LIKE. 


257 


With     emotion.       Con     affetto  ;     con 

affezione. 
With  energy.     Con  energia. 
With    expression.       Con   espressione, 

expressivo;  sensibile,  senlito. 
With  facility.     Con  agevolezza. 
With  feeling.     Sensibile,  sentito. 
With  fervor.     Con  calore. 
With  firmness.     Con  fermezza. 
With  frenzy.     Con  delirio,  con  rabbia. 
With  grace.     Con  grazia,  con  eleganza, 

grazioso,  elegantemente. 
With  grandeur.  Con  grandezza,  grandi- 
ose. 
With  grief.     Con  duolo,  con  dolore. 
With  growing  animation.    Animando, 

animandosi  ;    ravvivando. 
With  impetuosity.     Con  impeto. 
With  intensity.     Con  intensita. 
With  lightness.     Con  Jeggerezza,  leg- 

germente  ;  con  disinvoltura. 
With  longing.     Con  desiderio. 
With  mandolin-effect.     Mandolinata. 
With  much  passion.     Con  molta  pas- 

sione. 
With  nobility.     Con  nobilita. 
With  promptness.     Con  prontezza. 
With  rapidity.     Con  prestezza. 
With  resolution.     Con  risoluzione. 
With  resonance.     Con  sonorita. 
With  sadness.     Con  tristezza. 
With  spirit.     Con  spirito  ;    con  anima  ; 

con  brio. 
With  sweetness.     Con  soavita. 
With  tears.     Piangendo  ;  lagrimando. 
With  the  bow.     CoU'arco  ;  arcato. 
With  the  fingers.     Pizzicato  {7'iolin). 
With  the  left  hand.    Colla  mano  sinistra 


(usually  simply  »i.  s.),  or  colla  sinistra 
{c.  s.) 

With  the  loud  pedal.  Pad. ;  tre  corde 
{after  una  corda)  ;  with  pedal  through- 
out, sempre  pedale. 

With    the    octave.        Coll'ottava 

{coirs ). 

With   the    right   hand.       Colla   mano 

destra  (usually  simply  m.  d.),  or  colla 

dtstra  {c.  d.) 
With  the  soft  pedal.     Una  corda. 
With  the  stick.     Col  legno. 
With    the    voice.     Colla  voce  ;    colla 

parte  ;  col  canto. 
With  warmth.      Con  calorosita  ;    con 

calore. 
With  wrath.     Con  ira  ;  irato. 
Without.     Senza. 
Without     accelerating.       Senza     ac- 

celerare. 
Without  altering.     Senza  alterare. 
Without  growing  slower.     Senza  ral- 

lentare. 
Without    interruption.       Senza  inter- 

ruzione. 
Without  repeating.     Senza  ripetizione 
Without  retarding.     Senza  ritardare; 

senza  di  slentare. 
Without  stopping.     Senza  fermarsi. 
Without    taking   breath.      Senza    re- 

spirare. 
Without  the  mutes.     Senza  sordini. 
Wrathful(ly).     Adirato  (con  ira). 

z. 

Zealous(ly).     Zeloso  (zelosamente,  con 

zelo). 
Zephyr-like.     Zeffiroso. 


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